A History of French Painting  

• .'-• 'r

li ^- . . , '.,'•.?!; .1 lurii wjH not because of cb.. •

■ -, • *  : -• ' 'M jury M'l'l a growth in the pain

> * • ' ♦:'•-: ono of the mo.^i convinced ' .

' '1. ' • . / I '.f Allt.y of Chestnut. Tret .-» of 1*-:)^ ,

■*'i- «  - ' .\ •» ' h» M His merit otice d -anored, ti.-

. ',....' t Ml '-e art career, and in 18r»7 F^

«r M  »  ;f .^! '. •;. .^ year's 'i.lieodore Roiissenj ■•.

» ^» I- ' ■• ♦' ^" •• • • .. ..•.ilsciipo, above all vt^ a col'^rl.-t

.  ; •' ' " - ' r * • «  . .ill', ha? ^■l^n willincr to c<iul\ - ■

It )•.- ' ' . .» 0'^  ;'ested by everybody.'* Bi'

^bt ♦ t'l' ' - .' '-1': I'l'-iT was the cFtablishmcni «/

{'A b:.. '•••  : • K v.-;.^. l:indf3CiU«o itciLf wa^ ^i^'*'*-'

• MoM. "• t «: •'• •.. r.f f. .t./c, a pef-nii-ir one tliat b .

»  »ni** •' J"i5 ■•"»•." . • , ' • f ' •' • p  ;: vcn, of a^m^-^t divine* H ■;. r; • : a * . «. t , . s ■ . H4;>Yi>Htfi'-».^:v. Tie eniera gTL.i*' • ".J  : i/ ■ vi.r* .  ;^  :- \.i'..  »ce of piMii3, gra.SHPti, and

■' ♦ • '• •■i*!^^'^\'

*'Mi.d a-'<Nn'^»rud wi*h hiaven,

• . .v^. •• ' •' I.- • -  : •'■ -.r; I'y oo»r4>v.sed (»f the grassy

1>  :«  •' • -• ^:" "1 *! • •:' '-'v of Oifect )t' the whole f'^r

. ■  :-'. tils, ■  »• . *  :»..'...; . • ', dw'*^ >i^ By a car»^fal treai-

.: of c  : r i • f tf ■ i' • . '.}•:' 'n- tjjiting con-«ci«'niion«'

.-t;3n' — • < .<. '\ '.I.*.. I .  !!!c iyt\ .i,\\ ri?id «>r 8m;»p1

■ i r:«lrt til" ■ '• -; '•) \\  : / ■ "•'.. .ti'"'n of n.uurc^ in tht- j» . •

. .»'i^'i.h t' •• '. .»!•= H b- ' .♦ t«  As Iv'ifl been aptly said •

• • ii«  • I-*- •' ii»- -i • • • ' T' l!^ t«^4 nlial f{i(!ts.

• , I"  : ' . * • ' • •. . Mrarn his a^'m. He s.jid inp*.

1

^' ' > . . ". •

►  ;• *j of '. ' '.'1 .l\' A r-'tiiro is iMuiMtl in-t iytl- ■ .• f fr -..!■* • '-> "i: 1*5 A I nij( i}-;ii  ;■';•■< t. to vhcii tlie «•}»"* 'h»".^ T ..'.•■ .h}".j  ;: ^irroiilv til*: <'«"n} If u lU of t his, an I \ii'i tJia* • f - ' / r, u^ i.i'.r.' for th" -^ro. '1 n >,>, th^n., ■ vi'lnr- i* •■'" r>i i. . on t.iu C(>m»!j rv^ < -.-iiijlsj^ r«  [.-.' .!(.,••* 'J .;. -i^vH^. 't 'A'll ii.' roizaii«.d wM. i!Ml'*r»-o ii« «' • 0/ T  »;.'!-»ov, lit tj.il. J,- will i; T. *•.':;. I 'iiiii. V^'U *t[11 hi

THE NINETBENTH CENTURY. 247

Thns^ to a high artifitdo end, he allowed himself to neglect ezeoa- tion in parts where this neglect enhances artistic efFect. Pictures of this treatment are considered of his most charming style. It is seen in his picture, the Stormy Morning during Harvest (Salon 1857) excellent in its general effect, but broadly treated in execution and eren in color. But he was exceedingly versatile — as versatile as the aspects of nature which he studied; and of this versatility three styles are conspicuous. Early, following GonBtable, his style had a marked breadth, freedom, and impressive sentiment ; then a middle style of great finish of detail, in 1852 exhibiting a finish almost exceeding proper limits ; and his later work after 1855 of less exactness of detail and a less varied color. His strength is in design, which more than all else determines the character of his pictures and which with perspec- tive outlived his feeling for color. But by design is not here meant outline. Bousseau said himself :

" A design does not consist in exaetnesB of silhouette. A ttee should hare yol- mne like the ground water, air, space. Your branches ought to adyance out of, and thrust tliemeeiyes into the oanyas. The spectator should feel tliat he could go around it. In order to express form, wiiioh is the first thing to observe, your pencil ought to follow the meaning of objects. Bvery touch should count in the eiMmbU as expressing something."

Oontent with the material at hand, his genius transformed the commonest aspect of nature into a poem, and thus his work comprised all varieties; he could paint the storm as well as the smile of nature. He painted many pictures of sunrise and sunset in which he illustrated the principle which he expressed in saying : light spread over a work is universal life, . . without light

there is no creation. His life was a sad one, spent for nine- teen years after 1848 at Barbizon in a peasant's cottage, made beautiful by his taste. It was near that of Millet, between whom and himself had long existed the close alliance of sympathy in suffering, and who, weeping, closed his eyes at his deathbed. Bousseau lived there in the gloom caused by the mental aberration of his wife, whom he kept with him in all her wild laughing and weeping. During his long abstention from sending to the Salons (1 835- '49) he took consolation in his continual studies and in the esteem of his cultivated friends, Diaz, Jules Dupr6, and later. Millet and Charles Jacque. He conversed and corresponded little. He always firmly refused to visit Italy, fearing like Delacroix to destroy his indi- viduality, his own ideal, which he considered a result of qualities of

248 -A HISTORY OF FRENCH PAINTING.

race. He was intensely French, and to his loye of landscape was added the love of his natiye land. He roamed oyer and stadied all France, and be felt that an artist needed the undissipated force of all his mind, all his feeling, and the sentiment of his age, '^ to concen- trate in the limited space of a panel, the spectacle of Nature, multi- ple in her secrets." His pictures now command high prices. Early Summer Afternoon (29 x 21 in.) sold at the Probasco sale (New York, 1887) for $21,000 ; in 1873 at the Laurent Richard sale, Paris, the Water Course at Boulogne sold for $8,000, and at Mrs. M. J. Mor- gan's sale (New York, 1886) his Twilight for $15,500.

Bom the same year with Theodore Rousseau, but making his d6but five years later (1831), Jules Dupr6 added his force to that art- ist's in breaking down the strongly defended intrenchments of con- Tentionality in landscape. Dupre sought his inspiration directly from

nature or, more correctly, nature sought him (isia- " ). Nante*. with irrcsistible appeals from the beauti-

Med. add. 1833; 1867 E. u. fui bauks of the Oise near his home, that

L. Hon, 1849. Of. L. Hon. 1870. , ,. «. ^i. -i i_i i •

bore him away from the humble porcelain factory, where, confined by his father's need, at fche age of twelve he drudged with little education beyond reading and writing ; appeals that inspired and controlled his brush and made him a conspicuous painter of the ^^ paysage intime." Though he carries loye of nature to exaltation, he, equally with Oorot, depicts in landscape what he has felt as well as what he has seen. That able critic, A. Michel, says :

" It can be said with great justioe that he treats trees somewhat as Michael Angelo did the human body ; that in them reality exists for us only under the form that our feeling imposes apon them and in the measure in which we understand them  ; that in describing them we describe oarselyes, and that at the foundation of every work of art a confession is found."

Dupr6 continually, through some Forest, or Sheepfold, or Mid- day, makes such '^ confession. IlDder his feeling all parts of a scene are softened into a harmonious whole, and exactness of detail is subordinated to the interpretation of impression. Neyertheless, he accepts nature on her own conditions in the main and, like Con- stable, whose methods formed his most important instruction, in securing the reality he secures the charm. He studied design in the porcelain works of his father and afterwards painted for a while Alpine landscapes on clock cases. But these representations of the nature he loyed so deeply proved to him insufficient, and at length

THE NINETEENTH CENTURY. 349

he went to Paris, and at the Lonyre saw the works of Hobbima and Buysdael, whose inspiration was in the same direction as that of the English Constable. Whatever of tender and jnst treatment of the features of landscape already so dear to him he may have learned from these, he at least was afforded in them a recognized precedent for the principles of the so-called innoyations. Fortified against the advocates of conventional arrangement by The Mill of Hobbima and The Bnsh Beaten by the Tempest of Bnysdael, he startled the artistic world by his d6bat with five landscapes in the Salon of 1831 — a Salon that has become famous by the romantic demonstration then made. Delacroix had sent to it his Barricade of Liberty, or July 28, 1830  ; there Brascassat, the conservative, renewed the paint- ing of animals, long fallen into desuetude ; in it Rousseau and Diaz made their d6but and took position ; there Decamps, with Boque- plan, sustained the new principles ; and there the heroic age of French landscape began, and not least among works illustrating it were Dupr6's.

Becently, in the Triennial Exhibition of 1883, at the age of seventy- one, Dupr6 exhibited eight landscapes, and still maintained in them the principles he had emphasized in the beginning, and illustrated what, during the interval, had been the accepted practice, what the interpretation of impression must always be, personal landscape or landscape intime. By a masterly harmonizing of parts, and hence unity, he makes a deep impression, which overpowers his slight defects, as, a certain heaviness in places, even some hard realisms, and some negligence. His trees are sometimes excessively twisted and violent in action, and design is sacrificed to the presentation of light. He and Rousseau stand high as colorists in the landscape school of the generation just passed, and in color both adopted a broad scheme. Dupr6 has also painted some charming scenes of rustic genre, as The Haymakers and The Shepherd. He has two beauti- ful and extremely characteristic works in the Loxembourg, Morning and Evening. At the International Exhibition at Paris, 1867, he had twelve landscapes. Among these were The Forest of Oompidgne, Bridge in Berri, Sbeepfold in Berri, The Return of the Flock. His Environs of Southampton sold at the Nilsson sale (Paris, 1873) for £1,680.

In recent years he has only occasionally appeared at the Salons, but then in some landscape, as the Prairie Normande of 1884, which shows that he has not forgotten his skill, and that the tie between him and nature is still close and strong. The only survivor of the land-

250 A HISTORY OF FRENCH PAINTING.

scape school of 1830^ from a charming humble home on the banks of the Oise^ at Ptle-Adam^ he is still able to look npon the views that first charmed him ; bat he is also able to see afc the Salons the high level which that art holds through fche achievement of the group of painters to which he belonged nearly sixty years ago.

Boqueplan^ one of the innovators, proceeding from the studio of Oros, was also a pupil of Abel de PujoL Not without honors

Jcph etl.nn.Camill.Ro<,«.pl.n ^^ **»«  ^^ SChool, hc bcCame OUC of

(i8oo.'s5). M«ii«maft. thc foundcrs of landscape painting

M.d.adci...8a4;..tci.,.83. L.Hon.'j.. f rom uature with cspccial aim at uuity.

He produced charming effects of light and color in landscapes and marine pieces, and also painted genre. He was employed in the dec- oration of the Luxembourg.

flers gave strength to the new school in landscape. He had been camiiie Ft«rt trained in the old ideas under Paris, but belongs

(i8o2.'68), Paris. to tho gToup whosc d6but iu the Salon of 1831

M«d.3dei. 1840. ^as emphasized by their breaking away from

add.. 1847- LHon.. 1849. J^ .. jf.,. _. j«j  ?• i_ L. i_

convention and tradition. He did his best work between 1831 and 1865. The Four Seasons and A Mill at Annay, which won for him a decoration, illustrate his style.

Lambinet, a pupil of Bois61ier and subsequently of Drolling and Horace Yemet, uses, with a refined taste, high, clear, brilliant lights tmw. L.mbi«.t ^^ painting the views of his own country,

(i8i5-'78), vertaiiiM. usually the uatural and simple scenes of

L*Ho^ ^^IwT^' *** *'" " ' "***" *** *^^ lowlands, as well as landscapes of the

East and Algeria. In general he contents himself with an approximation to detailed finish, having a kind of accentuation with the brush which suggests it. He exhibited from 1833 to 1877 thirty-seven pictures, and has A Landscape (1855) at the Luxembourg, besides others in the museums of Gambrai, Avignon, Amiens, Montpellier, BesauQon, and in the United States.

A landscape painter, a keen lover of nature, and one who inde- fatigably pursued the aim of becoming an artist ; who obtained the

Fran^oi. Loul, Fran,.., first^lass mcdal throc timcs, two of them being (1614- ) piombUrM. at Universal Exhibitions, where, also, in 1867,

^^t^^A^'l^c II .^c n he was made Officer of the Legion of Honor

1st CI. 4B, 55 t. u., 07 b. U. 11,

L. Hon. '53; Of. L. Hon. '67; over Theodorc Bousseau  ; who has been a mem- Med. Hon. '78. y^j^ ^f ^.j^^ J^yy ^f ^^ Salou many times  ; who

has had pictures acquired by the State ; whose painting. The Sacred Wood, was ' pronounced by Bousseau himself one of the most remarkable landscapes of modem times;" and to whom so impor-

TEE NINETEENTH CENTUBT. 251

tant a work as the decoration of the Baptistery of the ohnrch of La Trinite, Paris, was suooessfally entmsted, — ^FranQais, is an im* portant name on the roll of French artists, though his fame on this side of the ocean bears no proportion to that of his teacher, Oorot^ of Bonssean, Diaz, Danbigny, Millet, Breton, and Bastien-Lepage. This charming artist has a talent entirely French. Says Oantier : If eyer name were nicely adjusted to the person ... it is so with Fran^ais.^' His drawing is most accnrate, and shows a charming detail, in sowing the grounds of his landscape with the real flowers of nature. If some critics have condemned his color as too gray, and his impasto as soft and cottony, this cannot be said of his best pic- tures, as of the three acquired for the Luxembourg, The End of the Winter (1855). Orpheus (1863), Daphnis and OhloS (1872), which is a thickly-wooded, well-composed scene of true poetry. Gtiutier praised him with delicate eulogy, and the art critic, Merson, appre- ciatively says : He is very skilful in painting nature when the eyening powders with gold the hills of his backgrounds, or the sun pierces with arrows the foliage of his grand trees.

He began life in poverty, but to the great tenacity of his purpose to acquire aesthetic braining he sacrificed rapid financial advancement in other directions, for which his great practical ability and high character won for him repeated opportunity. This resulted in his becoming an illustrator of books, in which he gained great reputa- tion, especially for the illustration of La Lorraine. Having thus acquired means, he went to Italy (1847), where he studied art three years. Subsequently he had instructions from Oigoux and Oorot. His two designs in the Baptistery of the Ohurch of La Trinit6, The Baptism of Christ and Adam and Eve Driven from Paradise, are among his best works. The figures of his scenes have been painted in most instances by M. Baron — in one, St. Oloud (1846), now in the Mus66 of Plombidres, by Meissonier. In the Salons up to 1885, beginning with that of 1837, he has exhibited seventy-two landscapes, chiefly French and Italian views, and some portraits. Landscapes by him may be seen, besides, at the Luxembourg and Plombidres, in the museums of Tours, Bordeaux, Spinal and Nantes.

His pupil, Oabat, another of this school of landscapists, lacked the essential power of interpretation, but painted what he saw with a realistic treatment. Some of his small pictures are noteworthy for their clear foliage and the ramifications of boughs so well defined as to be outlined against the sky like lace. He studied from nature the picturesque landscapes of France and Italy, and achieved great

262 A mSTOBY OF FRENCH PAINTme.

popnlaritf, first appearing in the Salon of 1833 with fiye landacapes, and since exhibiting thirty-one pictures^ chiefly of this class. He is

represented by An Antumn Evening (1852)

Nicholas Louis Cabat • Ji -r i, ^ r>^tv* m

(i8ia. ), Paris. m the Lnzembonrg, was made Officer of

Med. ad ci. '34. the Lcgion of Honor. aAd thns had the offi-

L. Hon. '43 Of. L. Hon. '55 E- U. . , ® ^ , . ' , .^ , -

Mom. Inst. '67. ciaI scal sct upon his work^ as it also was by

Mod. 3d ci. '67 E. u. the purchasc by the Ministry of the Fine

Roctor Acad. Rome '79-'85. *_. ••■•ti tlt • i-«i-i -aj

Arts of his Lake Nerni^ which he painted twice^ in 1840 and in 1864. In the next period^ when the art esti- mate was not antagonistic to the romanticists^ he was made a Mem- ber of the Institute (1867)^ also a Director of the Academy at Rome (1879). He had an extended influence through his pupils, conspic- uous among whom is Fromentin.

Diaz^ also^ belonged to the group of artists working for interpreta- tion^ and aiming chiefly to conyey the entire artistic effect, the sug- gestions to the sympathetic ima^nation rather

Narciso Virgilio Diaz do la PoKa fi i^i . m ^ -  !i t

(1808. '76), Bordoaux. than thc separate features of the scene. In

Mod.3dci. '44; add. '46. this nouc wcrc more successful; he could. Dip!';.' 0.;'*^*; ."'s e. u. lite Oorot, catch the intangible atmosphere

and fasten it upon his canyas. In addition he had an extraordinary charm of color ; indeed^ all in his works is but an excuse for light and color, and they become charming min- glings of the real and unreal : from both these fields he selected the graceful and impressive. His design, which he was still pursuing at f orty^ is sometimes obscured by his attractive color ; he boldly held up to ridicule those who insisted on accurate drawing, and was as frank a hater of Ingres as he was an admirer of Delacroix. He, indeed, spoke what he thought, whateyer the surroundings, and from a seemingly rough exterior, only by prolonged acquaintance reyealed the tender delicacy of his nature, which, more frequently than that of many others, led to rescuing his artist friends in their need.

He was bom at Bordeaux, where his mother had taken refuge upon his father's being banished from both Spain and France, as belonging to an unsuccessful conspiracy against King Joseph Bona- parte, and began as an orphan at the age of ten to battle single-handed with poyerty. Unskilful surgical treatment, when the bite of an insect had made necessary the amputation of a leg, complicated his difSculties, and at fifteen he is found in a porcelain manufactory as a humble shop-boy. Promoted to the atelier of his employer, who had noticed his copying of objects around him, he made acquaintance with Oabat and Dupr6, who worked there with him, and soon, haying

THE NINETEENTH CENTURY. 268

quarrelled with his master^ began by himself the straggle of life. He early had thrown back on his hands, by Desforges, of whom he had borrowed the means for painting it, The Descent of the Gypsies, as it had long been exposed for sale without finding a purchaser. At this juncture, Paul Berrier relieved the despair of the youth. He per- ceived at a glance the merit which has since given the rank of a mas- terpiece to the work, and, though the youthful artist's hope had not aspired to more than five hundred, paid for it fifteen hundred francs. Oommencing thus with landscape-genre, Diaz glided into genre, and then into landscape, and, not until he adopted this form of art, did his pictures command distinguished notice. Most of those which in his struggling youth he painted for support, and some of which, it is said, he sold for five francs apiece, were studies from Delacroix, but around him he found varied styles, and was held in turn by each, but finally Bousseau became to him ^^le maltre.'^ Into his style enriched by his study of the n:iany, he infused his personal quali- ties, and succeeded in getting a picture into the famous Salon of 1831, Sketches from Nature, though he only received his first medal thirteen years afterward (1844). His buoyant character which kept him, after the amputation of his leg, the same active boy, swimming, dancing, and running hopity-hop with loud bursts of laughter, and which clung to him through life, is illustrated by his playful habit of calling his wooden leg my drumstick. This joyous exuberance pervades his works ; he never saw any curtaining mists or leaden clouds ; the sun always shone for his pictures and penetrated to the depths of the forests. These he loved to paint, and though obliged to exclude the sky from them, the sun is never banished, but lights them through and through, gilding in spots both the tree-trunks and the ground, and in these conscientious labor and finish are appa- rent, though sometimes wanting in his other compositions. His play- ful, delicate fancy invests his figures with a grace, which with his coloring gives them a sufficient raison d'dtre," even if in the world of grosser reality their exact prototy})e does not exist. Moreover, they are always in harmony with the scene. They have full foreheads and large, far-apart eyes, by which one distinguishes them at a dis- tance, the dogs even sharing these characteristics. He revelled in, and reproduced with an absorbed identification of himself in the scene, the brilliant colors of autumn. The Forest of Fontainebleau, where he lived at Barbison in loving companionship and sympathy with Millet and Bousseau, to whom he was always a pupil, furnished his field, and, in driving or walking there, one again and again recognizes a pict-

264 A HISTORY OF FRENCH PAINTING.

are of Diaz. As one does not look at his feet in gazing at a natural landscape^ he, like Bembrandt, Oorot^ Boasseau, and Hnet, leayes the first plane of his piotore without definite detail, and so carries the eye directly to the second plane. His charms so outweigh all their accompanying limitations that his slightest sketch has long been contended for at the sales. When wealth finally came to him he still retained his simple tastes, but bought a yilla at Etretat, where he might gaze upon the sea ^^ensoleillfie" which afforded him more of light than his loyed Forest of Fontainebleau. In its presence, Wolff tells us, he would plan grand and noble pictures that he was to paint for posterity, saying, ^^ Fortune is nothing without satisfac- tion with one's self." He died of the bite of a viper. His son, £mile, also a pupil of Bousseau, died in I860. Diaz's works abound in America.

Daubigny, from artistic surroundings and law of inheritance, could hardly have been other than a painter. His father, his father's chTi- Fr.n^oi. D.«bigny brother, aud his father's brother's wife

(1817-1878). Paris. were all painters ; his father, Edouard

• • •!*' 3d cl: 'srE-'u.* '^' Fran9ois (1789-1843), of landscape, his

•• lit ci. '57. Rap. '59, •«©. unclc, Picrrc { -1868), of portraits, for

L. Hon. '59- Of. L. Hon. '75. which he was distiufiniished at the Salons

Dip. to Doc. Artiste '78. , ^ _ _ _ ..,,,.,., ^* - ,

from 1822 till his death. Charles became a landscape painter, of the class which, following the true Fontaine- bleau manner, subordinated all parts to completeness of impression. For this he often sacrificed form and minute execution, although a close follower of the essential realities. He did not aim at graphic detail, but at breadth of treatment. Daubigny, however, had great charm of color, and sometimes in his indifference for drawing, for that was not the touchstone of feeling with him, was accused of making pictures of mere spots and unfinished sketches. But, as with Corot, effects rather than literal aspects were his aim, and these he attained in a high degree in the river scenes, which he painted from a studio floating down the Oise and the Seine, catching the bird's-eye view, as it were, of such combinations of illumination, of atmosphere, of cloud, and vegetation — ^f or this he does not ignore — as should have the finest pictorial effect. He sought the impression of the scene and derived the variation of his art from the changing notes of nature, the sensations she imparts. He became especially the painter of river scenes, while Oorot and Diaz painted as their water scenes the ponds of nature, for neither they nor other artists ever affect large lakes in landscape. In vivid realization of the nataral effect

THE NINETEENTH CENTURY. 256

of atmosphere he u a worthy oompeer of the great Oorot. He also had a singnlar power in conyejing an intense impression of vegetation, of tout oe qui ponsse." What is meant by just rendering of yalnes, or the relatiye strength of tones, the degree of light or dark in tints irrespeotiye of their hues, is eminently illustrated in his works. Daubigny learned his art of his father, whose manner for a time he followed. He inherited no means with his artistio talent, and sufiFered many years of painful struggle, during which he supported himself by painting small articles for tourists' purchases, even clock cases. At seyenteen he started for Italy with a friend, Mignan, upon the joint capital of $300, which, by great economy, they had accumulated. He remained there a year, and there, as eyerywhere, was a keen student of nature. Mignan abandoning art for busi- ness, Daubigny subsequently (1838), for the purpose of support by furnishing designs for illustrating periodicsJs, associated himself with three young artists, Louis Steinheil, Trimolet, and a sculptor. Their common purse allowed one of them to send each year a work to the Salon. He was for a time in the studio of Dela- roche. Success came to him in abounding measure when his art was known, but ten years of patient labor elapsed after his d6but in 1838 before he won official recognition in his first medal, one of the second class, though thereafter for thirty years his pictures were accepted and he could work at his ease.

The emperor bought his Fool of Gjriein (1858) for St. Clond ; The Hanrest (1863) was assigned a plaoe in the Toileries ; The Vintage (1863), and his View of the Valley (18S6) won the honor of places in the Loxembooig.

A yery correct idea of his manner is conyeyed by the discrimi- nating pen of About :

• ' Danbigny is a painter of the oonntrj as distinguished from a painter of nature

— ^that is, he is a painter of charming scenes just as they impress his artistio sense, without artifice in composition or in treatment of light ; the real, hospitable^ ftuniliar country, without display or disguise. "

This power of catching the essential features and omitting all others, the first principle of good etching, enabled him to excel in that art, and he left oyer one hundred etchings of great excellence. In loying alliance with the beautiful in nature of this world, and, when he came to die, recalling, perhaps, that Gorot had passed away in rapturous admiration of the yisions before him, his own last words became, '^ Adieu, adieu, I am going up on high, to see if Gorot has found for me there any new motifs for landscape."

S66 ^ HISTORY OF FRENCH PAINTING.

His son^ Karl Pierre (1846-'87, Paris,) was an artist of real ability in the same field as his father, of whom he was a pnpiL He was awarded a medal at the International Exhibition at Philadelphia for The Yallej of Porteyille, Normandy, haying become in 1874 Hors- Oonconrs at the Paris Salons. After his d6bnt in 1863 he exhibited in every Salon but that of 1878 np to 1884  : in twenty Salons thirty- eight pictures. These are all pure landscapes bat ten, which are scenes of shipping and fishing.

Another artist deeply impressed with the sentiment of landscape, and making eyen ^'passionate experiments in conyeying it. Gorges

Michel, belongs to the men of 1830." Of great (1763*843). Paris, sensitiyeness, he rose to consideration m the artistic

world by his feeling transcripts of the exquisite gray skies and tender twilights from the enyirons of Paris, whither he was wont to make almost daily excursions accompanied by his &mily, loaded with his artist materials upon his patient donkey. And in dramatic power he may be said, without exaggeration, to surpass Oonstable, from whom he caught the feeling, perhaps, as well as the landscapists of his own country.

Other landscape painters of the romantic period may be named, many of whom, it will be seen, by honors taken at Salons from which Bousseau, whose memory now eclipses theirs, was rejected, would, had the present rule then held, have been rendered doubly or trebly Hors Oonconrs  :

Jean Alexis Aohard (1817-'84) Isto  ; medal 3d class, '44 ; dd class. '45, '48 ; 8d class, '66.~Noel BaymoDd Esbratt (1809-'56) Paris ; pupil of Watelet and Lethidre ; medal 8d class, '44 ; 2d class, '47.~F. A. L6on Flear7(1804-'68) Paris; son and papil of Claude Flenry; also pupil of Hersent and Berlin  ; early painted history, bat by landscape won bis honors ; medal 8d class, '81 ; 2d dass^ '87  ; Ist class, '45 ; Legion of Honor, '51.— Jean Baptiste Adolphe Gibert (1808- ) Pointe-iU Pitre, Guadaloupe  ; pupil of Letliidre and tiicole des Beaux-Arts ; prix de Borne, '29 ; then settled in Borne, but has works in the Museums of France. — ^^onard Jean BCarie Hostein (1804- ) Pl^hMel ; medal 8d class, '85  ; 2d class, '87 ; Ist class, '41 ; Legion of Honor, '45.— Andr6 Joliyard (1787-1851) Le Mans ; pupil of Bertin ; medal, '27  ; Legion of Honor, '85.— Jules Bomain Joyant (1808-'54) Paris ; pupil of Bidault and Lethidre and of the architect Heigot, for he also painted architecture  ; medal 2d class, '85  ; Brussels, '45 ; Legion of Honor, '52 ; there is still great demand for his pen and ink sketches, which are of great power. —Louis Augusts Lapito (1808-'74) Joinyille, medal 2d class, '88 ; 1st class, '85; Legion of Honor, '86 ; pupil of Heim and Watelet ; a poor odorist, but obtained honors the yery years Bousseau was rejected.— Louis Antoine Maille-Saint-Prix (1796- ) Paris ; pupil of Hersent and Pioot, who also won medals, 8d class, '41 ;

THE NINETEENTH CENTURY. 267

dd class, '44, while Bonsseaa was unappreciated. — ^Antoine UcftL Morel-Fatlo (1810-70) Bonen ; medal 8d class, '87 ; 2d class, '48  ; Legion of Honor, '48 ; Officer, '60, when he also was appointed Custodian of the Louvre, where, upon entrance of the Prussians in 1870, he died of grief ; he painted some Algerian scenes. —Alexander Francois Pemot (1798-1866) Vassy ; pupil of Bertin and Hersent ; medal 2d dass, '^; 1st class, '89 ; Austrian grand gold medal, '46 ; Legion of Honor, '46.— Bomaiu Atienne (^briel Prieur (1806-'80) La Ferte-Gaucher ; pupil of V. fiertin and £cole des Beaux-Arts ; Prix de Rome, '88  ; medal 8d dass, '42; 2d class, '45 — Jacques Augustin Begnier (1787-1860) Paris ; pupil of Y. Ber- lin ; medal 2d class, '19 ; 1st dass, '28  ; Legion of Hon., '87.— Charles Gains Renoux (1796-1846) Paris ; medal 2d dass, '22 ; 1st class, '81 ; Legion of Honor, '38  ; also painted architectural views.— Theodore Richard (1782-1869) Millau, pui»l of Bertin, Aubry, and Ingres ; medal 2d dass, '81 ; Legion of Honor, '54. — Pierre Thuillier (1799-1858) Amiens ; pupil of Watelet and Gudin, and a follower of nature ; medal 8d dass, '85 ; 2d class, '87 ; 1st class, '89 ; Legion of Honor, '48, all taken during Rousseau's rejections ; and be sdeoted no classic subjects such as The Body of Cleopatra, etc. His daughter Louise, Madame Momard (1829- )^ also took for landscape a 8d dass medal, 1847.

LAKDfiOAPE WITH AISTIHALS.

This noble department of French Art takes definite daasifieation in this period. Constant Troyon's charming work gaye it promi- jaequ«> Raymond Bratcattat nonce, but tho painting of animals, which (isos-'CT). Bordaaux. jj^d fallen into disfavor during the olassio

Mad. ad. cl.' 275 lit cl. '31, '37. . , . -i i_ -r* .

L. Hon. 1837. penod, was reviyed by Brasoassat some years

Mam. Inst. 1846. before Troyon adopted it. Before that

most accomplished female painter who eyer liyed/' as Hamerton calls Bosa Bonheur, had taken her place by the side of Landseer and Troyon^ Brasoassat won the title of ^* the poet of animals/' althongb his most conspicuous and most frequent subjects were fierce and un- poetical bulls. ** No one not a Dutchman paints so broadly^ or with, a surer and firmer touch ... or models with more energy the* necks and shoulders of bulls and cows/' said De St Sartain the> year after Brascassat's death. Still the treatment of sheep^ those gentle animals that always eleyate a scene by their association with ancient pastoral life, poetry, and religion, is the most graceful phase of his talent. In 1825 he took the second Prix de Bome for historical landscape, by Meleager's Hunt, but as this gaye no adyantage but exemption from conscription, Charles X. and the Duchesse de Bern proyided a fund for his pensionate at Bome. He was awarded a medal (second class) at his first exhibition. This was, also, a landscape, and he continued that class of painting until 1831, when his first Land^ 17

S68 ^ HISTORY OF FRENCH PAINTINe.

scape with AnimalB appeared* Thereafter his urork was chiefly of animals. There followed in the Salons  :

1888, Stady of a BnU ; 1885, A Boll Bnttmg againet a Tree (Nantes), Land, soape with Ammals, Bepoee of Animala, A Soroeier  ; 1887, Bulls Fighting, Bepoee of Animals, A Pasture Landscape, Animals ; 1888, Wolf ; 1840, Park of Sheep, Landscape and Animals ; 1843, Landscape with Animals (Nantes) ; 1845, Oows Attacked by Wolres and Defended by Bulls, Landscape with Antm^la (at Luxem- bourg once, at Louvre now), Marine ; 1865, Bulls Fighting, Cow Attacked by Wolves and Defended by Bull, Bepose of Animals, and a portrait of Brascassat (owned by M. Paulinier).

Besides these, there are by this artist, at Nantes, White Bulls and other Ani- mals in a Landscape (1888) ; Bull and Cow at the Drinking Trough (1887) ; A Wolf Devouring a Sheep and Attacked by a Dog (1889) ; Head of Wolf (1887) (a reduc- tion of the larger picture exhibited at the Louvre the same year) ; Wolves and other Animals in a Meadow (1841) ; at Montpellier, Oow in a Pasture (1846) ; at Bordeaux, Cows in Pasture (1885), Death of the Boar of Calydon, and a Landscape with Animals. The high prices of his works mark the public appreciation. A Bull at Liberty sold in London in 1872 for 960 guineas.

Brascassat threw his influence on the side of the conservatiyes in the contests of the Institute^ and his name is associated with the crael ezclnsions from the Salons of the rising artists by those in power in the period preceding 1848.

Troyon has no art biography  ; his artistic career had no system- atic teaching at home, no stndj in Italy, no ticole des Beanz-Arts,

conttent Tro on ^^ ^"^ ^® Eomc. As an artist, he was a spora-

(iBio-'Ss). S4vr«>. die and spontaneons growth. His pictures haye

Med. 3dci.^8; adcL'4o; j^^ distinguishing names ; they are simply Land-

L. Hon. '49. ' scape and Oattle^Woodaud Cattle, Oattlc at Work,

Mem. Acad. Amsterdem, '47. Qows and Laudscapc, The Boad, eta, and, like Oorot, satisfled and enriched by his loye of nature, he neyer married. Also, like Oorot, he had caught from nature a rustic manner. ** He had the air of a poacher," says Blanc, '^ and apparently only the simple instincts of the common people." But in reality it was the rare instinct of a penetrating poetry, though seen only in the common things of his common, limited sphere ; the peasant life  ; the fields around his home ; the forest near by ; the cattle in their majestic labor, or their placid ruminations. Seeking subjects no further remoyed, and subtly seeing a happy perfection in these, he painted them in an intimately truthful and realistic style. But he made the sunshine play upon and around his cattle, he endued them with a sentiment that expresses the story of yigorous creatures patiently seiring a weaker being, he placed them in such perfect relation to

THE NINETEENTH CENTURY. 269

the atmosphere and fields that, if his animals are not always of an obTiously accurate anatomy, his pictures are most charming, and he an artist of the highest rank. His artistic quality is espe- cially seen in his unfailing maintenance of a true tonality. His colors and lights are in the same key. There is no salient starting forth of brilliant parts, which might better please the less artistic eye, but eyery element of his picture is modified by an artistic perception of relative tones. The inaccurate anatomy with which he has been charged by academic literalness, is a sacrifice for the greater truth of the whole. He studied, as the sketches made known at his death proved, all the severalties of a picture in accuracy of detail, but, instead of literally rendering its parts, he fused them into correct relations to the whole, more than most painters have suc- ceeded in doing. He studied analytically, he painted synthetically ; he was, says Hamerton, the most synthetic painter of the century." He met with high appreciation at home and abroad and both before and after his death.

Troyon entered the porcelain manufactory of his native town, Sevres, in which his father had had employment and lodging before his death in 1817, to become a decorator of porcelain. Then Bio- oreuz, at that time a painter of fiowers there, but afterwards, when he had given up art, the founder and keeper of the Museum of the Sevres factory, gave him some lessons in design. But what is more important, he gave the stimulus of encouragement to the promptings of the lad's temperament and instincts, already at work to bring out for him a greater destiny in art This was the chief teaching, properly so-called, that Troyon received. At twenty, he went forth with baton and color box, upon a life of which landscape painting was the aim, food and raiment the incident. But as he was feeling his way, guided only by his artistic sense, and seeking his sustenance by temporary work where he might find it from porcelain makers, while sketching one day he was approached by Boqueplan, who was also sketching. Boqueplan saw sincerity in the youth and merit in his work, and gave him sug- gestions that cleared his way through the infinity of nature that then encumbered him with detail, a natural result of the minutiffi of por- celain painting, and from which he was to make a great leap to attain his final qualities of breadth and completeness of efFect. Frequent visits to Boqueplan in Paris followed. He exhibited at the Salon for the first time in 1833, presenting three pictures, The Colas House at Sevres  ; Fdte at Sdvres  ; and The Park at St. Cloud. In 1842 he estab- lished himself in Pans, and soon entered into that brilliant coterie

260 ^ HISTORY OF FRENCH PAJNTINQ.

that became a little later the distmgnished French achool of land- scape, the attainments of which haye surpassed all landscape, except perhaps the work of the greatest of the Dntch masters. Between Decamps seven years older than himself, and Harpignies nine years yonnger, Troyon found there besides them, Gabat, Dupr6, Millet, Jean Flandrin, Fran9ais, Huet, Flers, Bousseau, Daubigny, Gambinet, Diaz, Isabey, and Boqueplan, all in the hey-day of life and artistic hope. Huet was groping after the interpretation of impression, and all were aiding in tearing away the yeil that till then had hidden the grace and simplicity of nature, *^ The veil,^ says Blanc, '^ in which at first the majestic genius of Poussin and Claude had draped, and in which, later, the school of the false classics had stified her."

Troyon, who had not yet taken up animal painting, enlisted all his faculties with those claiming the right of individual expression and the study of nature as opposed to convention. He inserted no col- umns, no palace ruins in his landscape ; on the contrary, his pictures are formed, chiefly, of low lying, level lines. In 1847 his sketching tours, already extended through Normandy, took him into Holland, where he was so much appreciated as to be made a member of the Academy of Amsterdam. Through the high attainments of the Dutch school in the direction of his own tendencies, he matured his sfcyle and developed capacities for a finer art ; Paul Potter's works awakened an unsuspected predilection for cattle, and, after 1848, he became the painter of animals and thus added to his success. Bem- brandt's works taught him also to make use of the atmosphere for soft- ening outlines ; and atmospheric effect, giving great amplitude of out- door space, became his marked characteristic. Violence of color, which had previously characterized him, was softened, and when he rose to his best, for, at times, he painted carelessly for gain, his work is truly great His cattle, often coming towards the spectator, are grand, solid, strong, slow, heavy, patient. His sheep it has been truly said are painted with a palpable ** bleating truth." In Paris he was much influenced by Dupr6's style  ; they both received their decoration at the same time, in 1849, and were thus on the first list decorated by Louis Napoleon as President of the Bepublic, and during that interv^ of a few years in which the management of the Salons was left to the artists. Troyon's works immediately after his decoration trebled in price and he rapidly accumulated a fortune. He exhibited in the Salons from 1833 to his death in 1865 sixty pictures.

Two are in the Loavie, Betnm to the Farm (1859) ; Oxen going to Work (1860) : three are at Montpellier, Flock of Sheep ; Drinking Plaoe ; Drinking

TEE NINETEENTH CENTURY. 361

Place at La Toaqne (1^^  » ^ Leipsio, Cows in Pastiue (1861) : in the RavenS Qallery, Berlin, Two Dogs in Leash (1864) ; Cattle Piece (1866) : other landscapes at the Eiambarg Kunsthalle, Havre, Lille, and in the United States. In the Lux- emboQig he has A Landscape with Animals. This with A White Cow  ; Scotch Dogs ; A Seashore  ; and Dog and Partridge was exhibited two years after his death in the Exposition Uniyerselle of 1867. It was then presented to the Lox- emboug by the artisfs mother.

His special qnalltiefi were impressed apon a following who, in doing by imitation, study, and design, what he did with the direct- ness of a natoral bent, lost his charm, even while aiming to improye npon his style. They fall into the next period. Other animal paint- ers of this period were  :

Jesn Charles Ferdinand Hnmbert (1813- ), Dardagny, who sapplemented the instmction of Ingres and Diday by thoroogh study of nature and won a 8d dass medsl, in Paris, '43, membership of the Academy of St. Petersburg and Rus- sian Order of Stanislaus in 1860, and Italian Order of St. Maurice and Lasarus in 1802  ; he has become a distinguished painter of oattle : Amile FrangoiB de Lansao who still lives at the age of 84, a pupil of Ary ScheiZer and Langlois, besides paint- ing history and genre he painted animals with skill, making a special study of horses; medal 8d class '86  ; dd dass '38.

OHAPTEE Vn.

PERIOD m. FROH THB FBBB SALOK OF 1848 TO THB PBB8B2!rr TDCB.

PBSIOD OF IKDIYIDUALITY.

THE art of this period ' is largely the result of romanticism and the Tictories of romanticism in ofBcial quarters, the one giving opportunity to liberty of thought, the other obtaining the right of exhibition. The Salon of 1848 established no precedent except one tobe ayoided, and thenceforth in considering previous admissions to a Salon a basis of privileges (for instance from 1852 to '70, of voting for a jury) the Salon of 1848 has always been excepted. But from the rocket-like explosion of that year fell back some substantial elements of a basis of action. In the change of authorities, three important con- siderations were mooted  : the terms of admission to the Salons  ; the awards  ; and the places of exhibition. One of the complaints of 1848 had been that holding the Salons in the Louvre kept the master- pieces there hidden for some weeks each year. Until a building could be erected, what better substitute offered than the residence of royalty, the Palace of the Tuileries, already adapted by its large rooms and fine lights to this purpose and now vacated by the flight of Louis Philippe and his family  ? None, and in 1849 the French artists succeeded to the French kings, and held in the royal palace their first Salon of this period of anticipated emancipation. The two next followed in the Palais Royal. But the new Bepublic immedi- ately appropriated 650,000 francs for the erection of the Palais de PLidustrie in the Champs ElysSes, which since the Universal Expo- sition of 1855, which was held in the Palais des Beaux- Arts, has furnished the place of holding the Salons.

For an adequate idea of these times, regard must be had to the excited condition of artists, who, perhaps, more than any other class were aroused  : they were jubilant at their apparent success in casting off the bonds which had so long oppressed them and which,

> Owing to the formation of the Hon Gonconn dau, artlBts, as their exhibi- tions approach the last part of the Third Period, have a shortening list of medals, after 1880 many artists becoming H. C. even before recelTlng the first class medal Some new honors are, howerer, offered to oompetltors.

THE NINETEENTH CENTURY. 263

preyions to the political rifling, had incited an artistic reyolt Artists had been among the first to cry Yiye la B6pabliqae ; '^ they were among the first to snfFer from the ensuing poyerty. The Government finding itself scarcely able to eontinne the commissions abeady given under its first impulse of power, and, in the general disturbance, private orders being few, painters of ability were seen hawking newspapers about the streets, or doing manual labor on the public works. Belief was attempted by an appropriation (1849) of 150,000 francs for direct aid to artists, and soon of a further 200,000 francs for commissions for works. A lottery was also established, and, by the sale of 100,000 tickets, 250,000 francs were obtained, with which works of art were to be purchased and bestowed as prizes. For their aid, also, the subject which infiamed every heart. La B6pub- lique, was made by the Secretary of the Interior, Ledru-Bollin, a com- petition for a commission, and from among the sketches ofiFered twenty of the best conceptions were ordered to be executed for a further com- petition, an indemnity of twenty livres being allowed for expenses. Among these was Millet's. That the execution was awarded to G&r6me, however, long remained a mystery.

The Salon of 1849 is representative of the maturer judgment of the new authorities. Its regulations required a jury for the admission of works, but a juiy (for the first time) elected by the exhibiting artists. ' The first regular exemption from judgment of the jury was then also allowed ; it was to the works of members of the Institute, members of the Legion of Honor, those who had taken the Prix de Bome, and those who had previously been awarded medals of the first and second classes. French artists were apparently no longer to contend with narrow academic principles fixed by those in authority, and controlling not only the recompenses and all encouragements to art progress, but even the right of exhibition. Notwithstanding the poverty of artists, various causes combined for a splendid setting forth of art : the spirit of independence which had been fostered by romanticism ; the artistic sense, always so widely diffused in the French nation, and now fully aroused by long-continued contentions ; the newly-achieved liberty of the nation  ; the — after a few years — con- stantly increasing encouragements of the Government ; the rivalling private endowment of prizes ; and, not least, the great amount of origi- nal talent of the preceding period which formed a basis to progress in this, indeed, overflowed into it ; and, finally, the special cause, the

1 But the first jury, a bnndred years before, In 1748, wafl yirtaally elected by exhibitors, the electors being Academicians.

264 ^ HISTORY OF FRENCH FAINTING

fuller voice of the artists in art matters, which since has been listened to eyen more scrapulooslj by the authorities of the republic of 1870. This impulse was, howeyer, checked by early regulations of Louis Napoleon. Howeyer despotic politically^ he was always highly amen- able to popularity, and his policy was to hold in his own control all that was consistent with the semblance of great liberality to the arts, with the farther view of in this way adding magnificence to his reign. These two aims were soon modified by the sincere and ener- getic efforts really to benefit art of the Oomte de Nieuwerkerke, who, made General Director of Museums in 1850, exercised throughout Napoleon's reign an infiuence of constantly increasing power, rising himself to be Superintendent of the Fine i^. Senator, and Member of the Institute. These several aims effected, through tentative and progressive regulations, almost constant changes. Nieuwerkerke's thorough and bold action, based on convictions gradually reached that art should be freed from the control of tradition, led in 1863 to a renovation of the J^cole des Beauz-Arts and Prix de Bome, not less important to art progress than the ** grand restoration of the Academy " by Colbert exactly two hundred years before. But pre- viously to this, by a judgment which the Emperor's later wiser course would seem to condemn, the Salons, though in the height of their destitution the measure would reduce the opportunities of artists by half, were from 1850 to 1863, with the exception of one in 1853, made biennial. They had been biennial in the time of the first Napoleon amid his military preoccupations, and the demands of the Crimean War were now great. Also, for one Salon only, that of 1850, Louis Napoleon allowed to the artists the election of the jury  ; in 1852 the administration named half, and in the International Salon of 1855, in order to secure to foreigners a proper share, appointed the entire Jury.* It became difficult to depart after- wards from the purely official jury, and in 1857 the Emperor invested the first four sections of the Academy of Fine Arts with the powers they had held under Louis Philippe (1830-'48), and which had then

1 In the French department thirteen of the thlrty-fiye for painting and drawing, of whom not all were artiste, were members of the Institute, as Abel de Pujol, Alanz, Bntscassat, Couder, H. Flandrln, Helm, Hersent, L^n Oognlet, Plcot, Bobert-Fleury, H. Yemet. Though not members of tbe Institute, Theodore Rousseau, Troyon, and Couture also serred. For 1858 the first Salon after the Coup d*£tat, exemption from judgment of the jury for admission to the Salons, the great boon for which the artfsta had struggled in 18^, was withdrawn except for members of tbe Institute and of the Legion of Honor. In 1863 the organization and conduct of the Salon had been given to the Director-General of Museums, the Comte de Nieuwerkerke, who at once limited each artist to three works. He— ^uly 20, 1852— explained to the artists, assembled for

THE NINETEENTH CENTURY. 266

worked so oppressiTely. Also the Director of the MnsenmSy Nieuwe- kerke, became, permanently^ ex^ffido president of the jury. But now (1850) was instituted the Medal of Honor. It was to be of the value of 4,000 francs. In 1853 it was further announced that, as this Medal of Honor was specially intended by the Emperor for the en- couragement of young talent, the members of the Institute and of the Legion of Honor were not expected to compete for it. This was the first intimation towards the exclusion of those already having the highest honors from competition with those who had yet to win them, which in the form of Hors Ooncours subsequently itself became of the nature of an honor.

The newly made Emperor could now be satisfied with nothing less than a calling together of the nations of the civilized world, and thus instituted the first International Exhibition in France, in the history of French Art. ^ Two Annual Salons, those of 1854 and 1855, were merged into it. Its contribution of magnificence at this early point in his usurped power to the nephew of the man who had been repudi- ated by the sovereigns of Europe, is indicated by the ceremonies of bestowing its awards, in contrast with the last occasion of the kind which Louis Napoleon had attended.' The official report describes it:

" More than 41,000 persons were asBembled in the nave of the Palais de I'lndus- trie, transformed into a vast haU, brilliantly decorated  : ... the 41ite of civilised nations, represented by the most illustrious and the most eminent of men.

the distributions of awards, these three severe regulations ; the first, In such manner as to wId, in the main, approval and even applause. He said : *'The expositions held as they are, gratuitously in one of the palaces of the State, . . . confer in themselves a primary recompense upon those admitted to them. Artists should, therefore, be repre- sented there by one of their most complete works and not by an unlimited number of inferior ones." This limitation, some years Increased to but two pictures, with one ex- ception—that of 1872— has since held. No longer do artists send from ten to twenty works. The limited exemption was on the principle, he explained, that the stare of the flret magnitude were fixed in excellence, while those who had only attained to receiving a medal, by the reproof of a rejection, might, without too deep a wound of self-love, be wisely checked in wanderings from true art. The jury now with unexampled severity rejected works, even of those who had taken medals of all classes, and who had had in the galleries of the nation works commissioned by the Government. The Emperor also established a special Jury of awards, consisting of members named by the Minister of the Interior and of those of the Jury of admission who had received the highest number of votes. Medals were to be of three values, 1,600, 500, and 250 francs, with three only of the flrat class, six of the second, and twelve of the third.

• As he predicted, by it all the crowned heads of Europe with their retinues were

drawn to Paris. Two only remained away. Victor Emmanuel pleaded that he and his people had no money to spend in travel.

' In awarding the honon of 1S49 Louis Napoleon in dtlsen's dress as President of the Republic opened the ceremonies by saying, '* I have not been willing to yield to any one the pleasure and the right of bestowing upon you the honors that are your due. It

266 A DISTORT OF FRENCH PAINTING.

The throne roee in the transept . . . ooTered with ft carpet of crimflon yetret and sarmounted by a canopy of the same oolor covered with golden bees— the well- known Bonaparte emblem. At the right and left of the enthroned Emperor and Empress, were seated the princes and men of rank ; their ladies  ; the widows of the high f nnctionaries of the First Empire ; the officers of the Church both Catholic and Reformed  ; the officers of Education ; the National Guard  ; the Army ; eyery department of political, military and civil life, affording a moet imposing coup d'cnl in their various presentation dresses, a visible representation of the new power."

Amidst this splendor he conferred upon other nations and his own besides, in the department of U Industrie, 112 Grand Medals of Honor, 252 Medals of Honor, 2,300 Medals of the 1st class, 3,900 Medals of the 2d class and 4,000 Honorable Mentions ; in that of the Fine Arts, 40 Decorations, 16 Medals of Honor, 67 medals of the 1st class ; 87 of the 2d class ; 77 of the 3d class ; and 222 Honorable Mentions. And now he instituted a triennial prize of 20,000 francs, which in 1869 he made biennial, to be given to the work most adapted to honor or serve the State."

The year 1863 was a year of emphatic and extended action in art matters, and the extreme reaction against classicism and the academic influence of the Institute seems then to have been reached. It was effected by the Comte de STieuwerkerke, then Superintendent of the Fine Arts. It is hardly credible, when seen through the Oomte de Nieuwerkerke's analysis of its tendencies, that the management of the  !^iCole des Beaux- Arts could have remained so long just as it had been established, during the views of absolutism maintained in the classic period. His complaints were  :

That by the regulations existing since 1819, the Minister was held responsible for it, while he oould not eyen present in its government a single idea ; ttiat unlike a learned body, which it was proper to allow by elections within itself to per- petuate itself, this was a service of the state  ; and that the existing system must inevitably result in the perpetuation of doctrines and theories more or less abso- lute. He condemned as being only better than nothing the method of instruo- tion  ; daily exercises, in which students from different studios contended with each other, as it were, in the short sessions, in which the professor criticised and coun- selled, running from seat to seat. He called attention to there being in a school of painting no professor of painting, only of drawing, and claimed that the regula- tions for the competition for the Prix de Rome were such as to favor a certain manner, and stifle all originality. He urged that the Academy, of fourteen painters only, should not decide what pictures were to command that prize.

is the sweetest prerogative of power to encourage merit wherever met. He did not appear at any recurrence of this ceremony until his greeting written at the head of the regulations was, " Napoleon, by the grace of God and the national will, Emperor of the French, to all present and to come, salatation."

THB NINETEENTH CENTURY. 267

In Tiew of these objections the Minister submitted to the Emperor for signature on Not. 18, 1868, a decree whose terms were substan- tially as follows :

A Superior Council of Instniction was to be intftltuted outside the school of (as its pieddenQthe Superintendent of the Fine Arts, (as Tf oe-presldent) the Director, and of two painters, two sculptors, two architects, one engraTer, and five other members named by the minister. The corps of instruction was to consist of seven professors, chiefs of studios, who were to teach painting, sculpture, architecture, and engraving, with seven others charged with special courses, who were to give instruc- tion in the history of art and aesthetics, anatomy, perspective, elementary mathe- matics, descriptive geometry, geology, physics, and elementary chemistry. A pro- fessorship, if the minister should consider it more useful to the school, could be tem- porarily assigned to one outside of the administrative body. For the Prix de Rome every artist from fifteen to twenty-five years of age, whether pupil of the National school or not, was to be allowed to compete after having succeeded in two previous tests to be decided upon by the Superior Council, which instead of the Institute was also to regulate the details of the competitiou ; the works were to be judged by a jury drawn by lot from a list presented by the Superior Connoil and confirmed by the minister. The period of tiie pensionate should be four years, instead of five as previously, of which two should be spent at Borne and the other two, at the will and taste of the pensioner, in instructive travel, provided he advised the administration of ills intention to do so.

By this the absolute direction of the national instruction both

at home and in Borne would be taken from the Academy and

placed in the hands of the Government ; the liability would thus be

removed of any preconceived art theories suppressing originality.

Also the Prix de Bome for classical landscape was abolished. The

decree afforded a test of the desire in artistic circles for liberty, or for

absolutism in art Both sides flew to arms, but the pen was the

sword ; brochures and magazine articles crowded upon the public.

A numerously signed petition not to pass the decree was received

by the Emperor. Beul6, the perpetual secretary, drew up for the

Academy a protest of great length and of well-considered argument :

Ingres addressed to the Institute an attempted refutation of Nieu-

werkerke's charges against the existing system: The prestige of this

Nestor in art — eighty-two years of age — ^for whom only eight years

before (E. IT., 1855) it had been proposed that an honor shoald

be created different from those bestowed on others, was great. His

position amid the differing tendencies was not left uncertain. The

closing words of his address were  :

'<I declare in my heart and conscience, that I disapprove of the proposed changes . . . because they are a blow ... at instruction based upon the dassic traditions, in order to put in its place only a teaching of caprice and adven- ture, with incompetent judges and a false direction in study."

268 ^ HISTORY OF FRENCH PAINTING.

Flandrin in Italy for recuperation of health, prepared a paper just before his death, bnt withheld it, in order not to appear to judge that of hiB reyered Ingres insufficient. But when the decree passed, a letter of thanks signed by a large number of independent artists was addressed to the Emperor — ^Not* 29, 1863 — and published in the Moniteur Offidel, The first professors in painting chosen — ^Girdme, Oabanel, Pils — and the lecturers on special subjects, were all of such tendencies and recognized merit that even the disenthroned Institute was conciliated. In 1863 also, and in response to a petition sent to the Emperor, an exhibition in rooms adjoining was granted to those not admitted to the regular Salon' and they thus allowed an appeal to the public  : this *^ Salon of the Bejected continued until 1874.

But the bitter reproaches against the infrequency of the Salons and the seyerity of the jury appointed by the administration were such that the Goyemment yielded in this also, and in 1863 a purely official jury acted for the last time  : * thenceforth, a great joy to art* ists. Salons were held annually, and were not eyen interrupfced by the Uniyersal Exposition of 1867. In 1864 such adyance had been made in liberalism that the election of three-fourths of the jury was again granted to the artists exhibiting who had receiyed an award, one- fourth being appointed by the Goyemment. The grand prize of the Emperor was also now created. It was of the yalue of 100,000 francs, and was to be awarded eyery flye years to a descrying artist in painting, sculpture, or architecture. It was awarded but once (1869), to J. L. Due, an architect, as fiye years later Louis Napoleon was an exile from France at Ohiselhurst.

Louis Napoleon also, by decreeing that no artist should be nomi- nated for membership of the Legion of Honor until he had taken medals of all the yarious grades, made a regular system of honors. The Emperor's system of medals, constantly increasing in definite- ness, deriyed an additional breadth from the distinct establishment (1866) of the Hors Ooncours glass of artists, and by it, also, more

1 In the Salon of the Rejected, six hundred and eighty-eeren pictoreB were exhibited, among them a portrait of the Dnke of Orleans that had been rejected from eyeiy Salon since 18i0, even that of 1848. Others were works of Harpignies, Lansyer, Ohintrenfl, and Manet.

' As early as 1869 exemption from examination by Joiy was also restored to those haying taken a medal of the first class at an annual Salon or one of the second at a Uniyersal Exhibition and, in 1868, to those haying taken eyen a second class medal at an annual Salon. Medals were now made all of one class : forty, each of 400 francs yalue, were assigned for awards in the section of painting. Thus Medals receiyed between 1868 and 1871 are here designated simply Med. This unique medal continued until 1871.

THE NINETEENTH CENTURY. 269

opportnnities were afforded to the younger aspirants for honors. It was then decreed that no artist should take more than once a first class medal or its equiyalenty that is^ a second class medal preceded by a third, or a third three times^ or the cue class medal established in 1864 three times. Those who had taken the Prix de Borne and, after its establishment (1874), the Prix du Salon, also became Hors Con- cours.*

In the beginning of this period the Louvre, which had been so brilliantly inaugurated as a gallery by Napoleon I., was renoyated, enlarged, and connected with the Tuileries. But what was of greater importance, its priceless contents, which, from being the property of the people since 1848, were now claimed by the Emperor as an appan- age of the crown, under its direction by Jeanron (1848-'50) were systematically arranged and catalogued, and the great confusion and continual decay of many valuable works during the neglect of Louis Philippe remedied. Separate galleries were assigned to precious works found in the old royal collections. One of the earliest acts of the new director, in the first year of the short Republic with which this period began (before Louis Napoleon, who for a time affected the classic art that his uncle had favored, had imperial control), was to remove the works of the Davidian school from the place of honor in the Louvre, — a significant act, considered either as a cause or as an effect. They were assigned to the less conspicuous Hall of the Seven Ohimneys and masterpieces of all schools substituted for them. All good art was now to be allowed an influence. The Bepublic, through Jeanron, also added seven pictures, four by G^ricault, to the Louvre. Fifty thousand francs only were appropriated annually by the second Bepublic for purchasing works of art until 1852, when, through the influence of the efficient Nieuwerkerke, the sum was made 100,000 francs, an amount only equal to what the first Bepublic had appropriated in 1793 — a time of far greater purchasing power of money

1 This position was reached by gradual Bteps, as, Ist, the ezclnslon from farther com- petition for medals of Members of the Institute and of the Legion of Honor (1855); 2d, by the required resignation of all medals by those acting on the Jury of Recompense. Hors Concoors has yarled somewhat in its requirements for different years. It finally, on the principle that no artist should take a medal or its equivalent more than once, with a growing liberalism, has been decided that not only those who have taken the Ist class medal, but those who have taken a 2d class medal are H. C. An artist may, however, waive this and stiU compete for the Ist class medal, which the Jury may always award to one who has not received it. H. C, exemption, and the requisitions for voting for the Jury became Identical in 1878. Sioce, by a still increasing liberalism, exemption is allowed to those having previously been medalled, as well as to the H. C. class, and now any artist, having previously been admitted to a Salon, is qualified to vote for the jury.

270 ^ HISTORY OF FRENCH PAINTING.

in piotnres. Nieuwerkerke added (1850-'53)^ sometimes by exceed- ing appropriations, twenty-two pictures at a cost of 797^914 francs. Among these were two of G^ricault's, four of Ohardin's, and the Immaculate Conception by Mnrillo, which alone cost 615,300 francs, and to procure which Louis Napoleon especially aided him (1852). In Napoleon III.'s time, up to 1864, besides twenty-eight pictures at a cost of 761,817 francs, fiye of the Spanish treasures from Marshal Soult's OoUection, at a cost of 300,000 francs, among them the If urillo just mentioned and another, were added to the Louyre, and the Mus6e Gampagna from Bome, containing, among yarious classes of relics, six hundred pictures illustrating the history of painting from 1200 to 1700 A. D. was acquired, at a cost of 4,800,000 francs. The last Orleans Gallery of the Palais Boyal was lost in this period by its dispersion in the Beyolution of 1848. In 1852 the Palais Boyal was assigned to J6rdme Bonaparte as a residence and he occupied it until his death, as did his son J6r6me, until the fall of the Empire.

Although Jeanron had peremptorily stopped the cleaning of the pictures of the old masters in the Louyre, the practice was resumed within a year or two, a small portion of each being left untouched for a means of comparison. Discussion did not determine whether the results were disastrous or beneficial We now see a Bubens for the first time,'^ exclaimed those fayoring ; ^* We shall neyer see a true Bubens in these pictures again," urged others. Finally in 1861 an oflBcial enactment appointed a Oommission on Gleaning the Public Pictures, and decreed that consultation with the Academy of Painting must precede eyery decision. Through his years of power, Napoleon III., as one element of the fdte he made of his birthday (Aug. 15), dis- tributed works of art among the proyincial Museums. Thirty yaluable pictures were so distributed in 1858, and in 1867 two hundred were distributed in sixty-four proyinces besides Algeria.

Notwithstanding a continued decrease of the Emperor's liberality of patronage,^ the iclat afforded by his lustrous artistic aims and, at times, accomplishments (such as his foreign purchases and his two grand reriews of art, the International Exhibitions of 1855 and 1867) culminated the year before his fall. Then the Emperor's munificent prize of 100,000 francs was first awarded and the La Gaze Hall was established at the Louyre. This was the gift to the nation by M. La Gaze, a physician and philanthropist of wealth, on condition that it should not be broken up (though a distribution of one hundred

1 The avenge price of pictures bonght tor the Emperor from the artists was in 1888^ 8,418 fraDcs ; in 1S64, 3,748 francs ; in 1865, 2,080 francs  ; in 1866, 1,840 francs.

THE NINETEENTH CENTURY. 871

pictures might be made to proyincial miuieumB); of a collection of more than six hundred piotares, yalaed at many millions of francs. It contained^ among others, nine Watteaos, four Lancrets, four Paters, several of those great contemporary portrait painters, Largil- lidre, Bigand, and De Troy, flye Bouchers, ten Ohardins, among them Le Ben6dicit6 ; six Greuzes ; and a wealth of the Dutch and Flem- ish schools, nineteen Teniers, eleren Bubenses, three Bembrandts, four Van Dycks, four Brouwers ; while the Spanish school was richly represented, showing two MurilloB, two Biberas and three Velas- queses.

In 1870 the ofScial management of the art of the nation feU to a new power, that of the Third Bepublic. The diaasters of 1870-'71 preyented a Salon in 1871, and the civilized world was watching and anxious whether, instead of the annual exhibition, the master- pieces of the Lonyre were to be destroyed and the great artists of France shot down in battle. The masterpieces of the Louvre had, upon the French defeat at Sedan and the consequent probability of a siege of Paris, been removed, some to Brest, and some, as were also those of the Luxembourg, to vaulted underground halls. These works had upon the withdrawal of the Prussians been replaced, when, on the terrible 14th of March, the Oommunists in the insane desperation of a defeat that meant literaUy death destroyed the Tuileries, the Hdtel de Yille, and the Palace of the Legion of Honor with all their treasures of art. They failed, however, to communicate fire to the Louvre, and thus its precious accumulations of centuries were pre- served to civilization*

The new Bepublic assumed control in the fine arts, cautiously, wisely, liberally. Being a less personal government and having less motive for self-aggrandizement, it adopted the principle that the true basis of government administration of fine art was simply that of encouragement ; that its only province was to provide for prizes, pur- chases, and a high character of instruction. In the absence of an imperial power so large a proportion of the affairs of the nation as the Fine Arts was necessarily subjected to regulation by a depart- ment of the Government, a Bureau of Fine Arts. This now consists of the Minister of Public Instruction, Fine Arts, and Worship as its head ; an Under Secretary of State  ; and a Director. Its duties are to decide upon the purchases and orders of the Government, the dis- position of these works, the decoration of public buildings and squares, to accept bequests, regulate foundations, superintend the instruction of I'^cole des Beaux- Arts, arrange competitions and prizes and, even,

272 -A HISTORY OF FRENCH FAINTING.

the sales of art works at the Hdtel Drouot (erected 1860). As an agent of the goTemmeut it delegates authority and changes regula- tions to meet the varying needs^ or varying perception of needs of art

Not until 1874 did the new authorities seem to gain the poise required for permanent decisions in the Department of the Fine Arts ; then many regulations were changed. A Superior Council of Artists^ similar in its functions and constituency to that created in 1868; was formed to act with the Minister or Bureau of the Fine Arts. Animated, howeyer, by republican rather than imperial ten- dencieS; its formation proved an important step towards what has since been effected (1881)^ viz., the investiture of the general body of artists with almost the entire management of art affairs.' To this end the energetic measures of the Marquis de Ohennevidres^ who in 1874 superseded M. Oharles Blanc as Director of the Fine Arts^ greatly tended. He urged the precedent that the exhibitions of the Academy were established in the seventeenth century and continued for one hundred and forty years by the votes of majorities among the artists, and that now of the artists, members of the Institute, of the Legion of Honor, and medalled, a body of voters could easily be formed, as dis- tinctly classed and as able as that of the ancient Academicians. The '* encouragement" which the Government deemed its only function with relation to art may be considered under the heads. Instruction and Becompense.

L Instruction. For this, the  !l^ole des Beaux-Arts, taking origin in the first teachings of the Academy, definitely reSstablished in 1795, again regulated by Napoleon I. in 1803, by Louis XVIIL in 1819, and Louis Napoleon in 1863, is still maintained by the Bepublic as the school in which the nation gives instruction. Its management, based upon what its aims have continually been, has been changed only in accordance with the increased liberalism of the age. To it Frenchmen between the ages of fifteen and thirlj and those of other nationalities both then and when older, since ttiey cannot compete for the Prix de Bome, are admitted on presentation of proper creden- tials and making a sketch in twelve hours that shall prove ability warranting the adoption of art as a profession. Women, however, are excluded. Nothing is spared in the plans that can contribute to develop artistic ability. Day and evening courses are furnished,

1 ** By the establishment of the ConncU, which indndes In Its sphere not only the ftoole but the whole domain of the Fine Arts, the artists have been called to take their part In the dlscnsslon of their own affairs.*'— <Offlclal Address of H. WaUon, Minister of Public Instnictlon, Aug. 7, 1875.)

THE NINETEENTH CENTURY. 278

and a broad culture is giyen by lectures instituted in 1863 and con- tinued by the new administration/

Since its commencement by Louis XYIIL the building for the Nicole des Beaux-Arts^ Bue Bonaparte, has become truly a Palace of the Fine Arts. It is a museum as well as the national school of instruction. A gateway adorned by colossal busts of Puget and Pous' sin opens into a court which is flanked on the right by a part of the old buildings of the Oonyent des Petits Augustins, notably the chapel of Margai-et of Valois. The front of these is now masked by the portal and a part of the fagade of the Ch&teau d'Anet built by Henry II. for Diana of Poitiers. Within this is Sigalon's copy of Michael Angelo's Last Judgment and plaster casts of his Tombs of the Medici, his Moses, and also of Ghiberti's bronze doors that Michael Angelo pronounced '^ worthy to be the gates of Paradise. Between the columns of the fagade are placed statues, among them the bust of Alexandre Lenoir, and a statue of Henri Begnault. The court is divided in a line parallel to the entrance by one of the fa9ades of the Ch&teau GaiUon, nearly contemporaneous with Michael Angelo's Last Judgment, brought here stone by stone and reSrected by Lenoir. TJpon its inner side brackets support statues and medallions. The court behind this forms indeed, in the fragments of sculpture and architecture, chiefly remains of Lenoir's collection dispersed in 1816, a museum of French art from the GaUo-Boman period to the six- teenth century. At the right of the first court and next to the cast museum are cloisters ; the Oour du Mtirier is frescoed in Pompeiian style, containing copies of celebrated antiques, and decorated by a replica of the famous terra-cotta frieze of the Pistoja Hospital by the Delia Bobbia. Behind the second court is a building which contains in its first story and in its court copies of antiques, among them the Phidian marbles of the Parthenon. On the walls of its semi-circular lecture room, where the Prix de Bome is awarded, is the famous Hemicycle of the Beaux-Arts by Delaroche, representing artists from Veronese at the extreme left to Poussin at the right. Near this are committee rooms, in which are hung the portraits of all the instructors of the school since its foundation, which comprise some, eyen, of the ^^anciens." Beyond the lecture room are the stu- dios of instruction. A cloistered hall, frescoed by the brothers Balzio under Ingres (1836), with copies of the fifty-two divisions of the famous Vatican loggie of Baphael, leads to the gallery of the Prizes of

> Eight hundred papUs registered Oct. 16, ISSS, for tha eDBoing aeholastlc year, and In 1887 the uamber was increased to twelve hundred. 18

274 A HISTORY OF FRENCH PAINTINe.

Bome^ in which almoBt all the works that have taken the first prises are preserved^ oyer two thousand in nnmber^ of which one by Natoire is as early as 1721.*

An important aid of instruction is the ^cole du Louvre, estab- lished by the Goyemment in 1882, and consisting of courses of lectures on the coUections at the Louvre, on National Arohseology, Egyptology, Orientalism, and, most important of aU, a course on the History of Painting. This subject was assigned to M. Lafenestre, and Eugdne Muntz succeeded him. Besides the schools of instruc- tion afforded by the Government, many artists give instruction to classes, the rent of the studio taken for the purpose and the fees to the model being the only expense to the pupils, who are, also, not excluded from the honors provided for in the budget. Said the Minister, Henri WalloD, in 1875, These shall comprise all those not only in the special studios of the Beaux- Arts, but in the studios out- side who take part in the competitions of any year. Also a chair upon the Theory of the Fine Arts founded on Beauty has been created in the Oolldge de France, and the teaching of design not only by description for useful ends, but for sBsthetic purposes in appealing to the sense of beauty, has been made obligatory (1878) in the colleges and high schools. Explained the Minister  : This is not in the hope of making artists " by that alone, but not to imperil the elevated traditions received from the grand masters, and to keep up the level so that the sacred battalions of artists can always be recruited.

XL Becompense. As varying appropriation may allow,' pur- chases of works are made by Government for the various galleries of the nation as a reward of merit to the artists executing them. The prizes instituted in the National School of Fine Arts and in the Salons have been so supplemented by private foundations that it is difficult to enumerate all the prizes offered to the various competi- tions. Together they form a system replete with incentive, and are at once both an effect and cause of the strong art promptings of the race. Of the Government instruction the first prize is still the Prix de Bome. This yet attracts with a charm which, except with the later schools of naturalism, though more than two hundred years old^ has lost nothing in the eyes of the young aspirant Having won

• sun greater facilities are now proposed by a plan of purchase of adjoining groonda

and enlarging the building.

• The budget contained an appropriation for art expenses for 1886 of 18,86&,066 franca, or $2,772,611, that for 1886 haying been 18,788,056 francs, or $2,757,611.

THE NllsElEENTE CENTURY. 376

wbat has lured him on through poyerty, through douhts of himself and the discouragements of others, he hies himself to the Villa Medici to bask in the favor gained : yiz., the priyilege of intimate acquaint- ance with the great oinque-centists. A second Prix de Borne and a second second Prix de Borne are also awarded, but serve only to put the recipients en route more certainly for winning the first, which, since 1863, furnishes four thousand francs a year for four years for study in Bome. The State also allows to the chosen competitors (ten) for it three hundred francs each for the expenses of execution. The Department of the Seine furnishes five purses for travel of twelve hundred francs each to recompensed artists. In the ^cole des Beaux- Arts there is also the Grand Medal of Emulation, founded in 1852 by Louis Napoleon, to be given to the pupils who have in each department recorded the greatest number of successes in the year. There are in painting also four purses for traveL Of prizes estab- lished by private individuals a list gives  :

A sum of 4,000 francs per year for four yean after retaming has been added to the Friz de Bome by a fund left by the CJomteese de Oaen (1870), when she also bequeathed £120,000 to the Aoad^mie des Beaox-Arts to found a Museum. Thus the Prix de Bome carries with it a support for eight years. In 1879 a legacy was left to the Academy by Madame Laboulbdne by which 2,260 francs are to be divided among tlie ten oompetitors for the Prix de Bome in Painting when they come out of ** logo." ' In 1847 a fund of 8,000 francs was left by Madame Le Prince to be divided among the recipients of the Prix de Bome in the four departments of Painting, Sculpture, Architecture, and Engraving. Also a sum yielding 8,9(IK) francs has been left by Charles Duboeo to be distributed among the competitors when they go into *' loge." Thus the winner of the Prix de Bome would receive, be- sides a support of 4,000 francs a year for eight years, 805 francs from this last found- ation, 760 from the second, 250 from the first, and 800 for expenses; 8,945 francs.

A prise for women of small resources adopting the pursuit of art was bequeathed to the Academy in 1888 by Madame Ardoin.

The Huguier Prize, having the aim of developing young artists in the study of anatomy, was bestowed for the first time in 1878.

The mother of Oonstant Troyon established at his death in his memory the Concours de Troyon, for which a prize of 1,600 francs is to be awarded biennally by the Acad^mie des Beaux-Arts to the painter of the best landscape with cattle without figures.

In March, 1884, M. Brizard left a legacy bearing an income of 8.000 francs to be given to the author, not over twenty-eij^ht years of age and not having taken a medal higher than of the third class of a landscape or marine admitted to the Salon. In 1884 MUe. Marie Bashkirtseff * bequeathed to the Academy a f ounda-

1 Gazette des Beaux- Arts.

• Marie Basbkirtsefl was a younGf Rasslan lady who had been a pupil of Bastlen* l.cjmire. Her mother gave for his Adoratioo, his Prix d«  Rome picture, 2,800 francs.

276 ^ HISTORY OF FRENCH PAINTING.

Hon for the annual award at the doee of the Salon of 600 franos to an interesting work that had reoeiyed an award at the Salon. Tiiia wae given for the fiist time in 1885 to M. Eng^e Carridre for The First Veil.

The Lehmann Prifle, founded by the artist, Heinrich Lehmann, is of 8,000 francs to be bestowed triennially upon tiie painter under twenty-flre years of age " who should be farthest remored by choice of subject, composition, style, and execution, from the degradation which the highly extolled doctrines of the day seem to fayor, which should, indeed, most eloquently protest against them." The first presentation, to haye been in 1885, was deferred, as the Academy found that the 8,000 francs would accrue from the principal only in seyen or eight years.

The Foundation Lambert is in fayor of poor artists or their widows.

The Foundation Maill^-Latour-Landry is a prize given biennially to young art- ists without fortune.

The Foundation Benott Fould a£fords an income during five years to two young Israelites pursuing, one painting and the other architecture, whose abilities medt encouragement.

In the Sfdon^ also a prize of 20,000 francs fonnded by Napoleon UI.5 triennial in 1856/ made biennial 1859, for the work '^ most adapted to honor or serve the State/' still continues. It was^ in 1887, closely contested by J. P. Laurens, Detaille, and Herein, the sculptor, and decreed to Merci6 for his Tomb of Louis Philippe.

Although in 1870 ^* every artist in France took up arms in the defence of his country/' * and thoagh artists had also given exhibi- tions and works in aid of the wounded, under Government officials new to the management of affairs and in a city so far deprived of its public buildings that the Palais de I'Industrie was necessarily ased for Government offices, but one Salon was lost to the artists, that of 1871. The one in 1872 was circumscribed in room, and only one- half the usual number of works received. Bat though the artists were saddened by personal experiences of war, its two thousand works were of great vigor, and the '^ artists of France" also contributed that year a large number of works to the sufferers by the Chicago conflagration. Jules Breton's pictures, A Fountain, and A Young Oirl Guarding a Oow, commanded the Medal of Honor, of which at some Salons no work is found worthy. Owing to the disturbances this Salon was again, in the leniency of the jury composed of former exhibitors, virtually an experiment of admission without judgment of jury, and again was demonstrated the necessity for exclusion& Sys- tematically arranged annual exhibitions were again ushered in by a vigorous Salon in 1873.*

' Addreis of Jules Simon, the Minister of Tine Arts, in presenting awsrds for 1872.

• The awards of this year were delayed from Jane to November that the confer-

ring of the Legion of Honor might be legislated upon, fori after attempts to aboUsb

^ i

• I yvL

■ •:.» .iimi.'.i V ■J. '^ .1 -  :

'*  :iUi..".i

I'.'.t .'

Tt, f. ...

1- "' V

•  :.'i'

t\ '(Hi Im •/

jr..  : .

i^# I . I « t  »

A -

♦'.01*.' .-. .

Tll'W

T» • . .

I

.'■ r  » «'■'.♦ 111.

'.•  :^' th * I.

••'■ \* *}f 1"

' \ %»I 1

4 •• *

. I

< «*

1 i

• •' S j1 ..

.• -Jt Ale, \ ..

• . • ^Mven i'

.•f;v«. _.••.

.. -.tv « 

f

, wiios» h'

'1 bv N

^ It

^ / *

//;>ifrj/(i ^i .J

A as 1

■ t ' * !

• .

,-. n»» i{*.

iiten""

THE NINETEENTH CENTURY. 277

While mamtaining, for its first ten years, the most liberal plan of constituting a jury heretofore practised, viz., that which had existed during the last six years of Lonis Napoleon's control, the Goyemment, in 1878, upon the suggestion of the Superior Council of the Fine Arts, planned to withdraw entirely and yield the management of the annual Salon to the Society of French Artists represented by a com- mittee of ninety, named the Honorary Society. In the official recog- nition, at last, of the necessity of the Salons to all artists, all exhibit- ing who haye been admitted to a preyious Salon, whether recompensed or not, haye since had a yoice in the formation of the jury of admis- sion to the Salon. The reseryation was made, that the Ooyemment should open in 1883 a triennial Salon of the best pictures, eight hundred and eighty in number, of the interyening annual Salons.'

it In 1870, In 1872, in order to reduce the number and to give to the honor a real yalnei It was enacted that the mazimum number of Chevaliers, previously unlim- ited, should not exceed 25,000, of Officers, 4,000, of Commanders, 1,000, of Grand Officers, 200, and of Grand Crosses, 70, and that except upon the army no more decora- tions should be bestowed. Besistance led to this being practically disregarded: twelve artists, eight in the Department of Painting alone, among them Van Marcke, being decorated in 1872. A commission was appointed, and, July 26, 1878, it was deter- mined that while those of 1872 should be legitimised, the excessive number should be gradually reduced to the legal limitation by appointments to the Legion of Honor or advancements in its grades of only one for every two vacancies by death in both the civil and military list (only the military list received emolument). Accordingly for the entire Department of the Fine Arts in France there were but six decorations and no promotions in 1878 ; in 1874 but three, two painters, J. P. Laurens and L. £. Lambert ; in 1875 but one, a painter, Gustave Morean ; in 1877 but three, Beaumont, Glalze, and H. Le Roux, and one promotion, Puvis de Cbavannes.

' M. Jules Ferry, then Minister of the Fine Arts, in opening the Salon said  : " The annual Salon must be allowed to the artists to get before the public. It is an absolute necessity to them. The Triennial Salon will represent the art of France.*' The Re- public had decreed In December, 1872, that a 1st and 2d class medal should replace the one medal existing since 1868, and eight of the first, and sixteen of the second, in place of the forty of the one kind, were assigned to the section of painting. Tha number of medals has varied since, in 1875 a third class being restored, with three of the first class, eaeh of 1,000 francs value; twelve of the second, each of 600 francs value ; and twenty-four of the third, each of 400 francs value. Thirty-nine were awarded in '82 and forty-five in '84, and it was definitely regulated in 1886 that but forty medals should be given— three of the first class, ten of the second, and twenty- seven of the third. But each medal of the first or second class not awarded should augment the number of the next lower class. That year, for example, none of the first class were awarded, fifteen of the second, and thirty of the third class. When for the last number of any one class two or more receive the same number of votes, a medal is given to each. The Grand Medal of Honor was to be awarded only if the Juxy discov- ered a work of illustrious merit, and it was to be awarded by a special committee at first, but later its award required a majority of all the artists entitled to vote for the jury (it was not awarded in 1888 nor in 1884). Up to 1884 an artist could take it as many times as his works warranted. The difficulties of awarding it then led to the regulation, that the largest number of votes should decide It, and that it could be taken by the same artist but once.

178 A HISTORY OF FRENCH PAINTING.

This was accomplished in 1881, and that jear occurred the first Baton managed entirely by the arti8fc& It was placed on a basis of perpetuity in 1883, when the Society of French Artists, Painters, and Sculptors, numbering nearly twenty-five hundred, ¥ras formally constituted by the Ooyemment an '* establishment of public utility and empowered to regulate the annual Salons (Decree, May 11, 1883). The Gtovemment has since shown its good faith in this matter by withdrawing the proposed triennial Salon of 1886 upon the remon- strance of the Under Secretary, M. Turquet, that the frequent recur- rence of the representative Salon of the State would belittle the annual Salon and destroy its infiuence. In 1874 (May 16) was founded the Prix du Salon, which is the highest prize of the Salon next to the Medal of Honor. It stands to the Salon as the Prix de Borne to the School of Instruction, and afFords, for study in Rome, four thousand francs annually for three years, to the painter or sculptor, not under 32 years of age, whose exhibition in the Salon indicates that he, of all exhibitors there, is best qualified to benefit by such instruction. But the Orand Medal of Honor is still the highest award of the Salon  : it indicates excellence already achieved ; the Prix du Salon, capability of achieving it.

The art of this period has been enriched by the varied mental elements of the large number of foreigners who have become a part of the art life of Paris, drawn thither by the advantages of its art in- structions, exhibitions, and sales. Thus in bestowing, Paris enriches itself. It is the world's emporium of art, and has justly been called '^a maSlstrom that sucks in of all nations.^ Like the enchanted mountain that drew all swords from their scabbards, it attracts talent from all countries.

A comprehensive retrospective and prospective view of the growths and changes in art, fundamentally necessary to a consideration of the different artists' special characteristics, is afforded during Louis Napo- leon's control by those grand reviews, the Universal Expositions of 1855 and of 1867. In that of 1855, very naturally from its oeutral position, seemed to gather, like a ganglion, all the varied art-nerves of the cen- tury, except, indeed, the last, that of plein air" painting, with the handling technically known as the tache." There the classic, the romantic in its great head, Delacroix, and the naturalistic in Horace

> Of 1,284 artists exhlbitlnfi^ in the Salon of 1885, more than one-fourth, 880, were foreigners. Of these 98 were Americans, 47 Belgians, 84 English, 81 Germans, and the others Spaniards, Swedes, Norwegians, Swiss, Portuguese, Dutch, Russians, AnstrianSi Italians, Greeks, and Turks. South Americans and Australians avail themselves of it, and in 1888 one Japanese, Ganx> Fonji, exhibited.

THE NINETEENTH CENTURY. 279

Vernet^ and that charmingly natural naturalistic. Decamps all ceived consideration both in the official honors awarded them and the great space allowed to their works — ^an entire room each to Ver- net and Ingres, Vemet having thirty pictures, Ingres forty, Delacroix thirty-eight, and Decamps thirty-nine — ^fifty-two including his designs. A yiew of the great movement in landscape for a quarter of a centniy by 'Hhe men of 1830, then made apparent that it had become the predominating art, while the classic landscape was still represented in twelve works by Paul Flandrin. Then Millet, too, appeared with The Orafter. Then, also, were afforded prophetic glimpses of the lustre and influence of the art of Meissonier, then only eleven years before the public, and of 06r6me, but seven years an exhibitor, an art that, by its wonders of execution, was to draw so much of French painting into paraUel lines that by 1867, while landscape still main- tained its high position, anecdotal genre was, from the point of view of quantity alone, the prevailing art of France. Oenre had, indeed, then become the principal occupation of all the art schools of Europe. This practice, as crowding out high art, the ideal, had been repre- hended by the Mimsters' presentation addresses of 1868 and 1866. But the production of genre still increased. Gtenre is the art of the people, of those masses that classicism never reaches. Principles founded in human nature, and therefore permanent, give it popular consideration, and have always done so, for, even when the classic types were the only ones considered as art proper, in the Salon of 1808, **ihd largest class of works was portrait, the next genre, and the third in number, historical works.* True, genre then had its wider original French meaning of all kinds of art not history or landscape. Subsequently it was limited to those works that represent, in small dimensions, incidents of familiar life, gener- ally in interiors by draped figures, for the nude usually exalts above the familiar into the historical style. But later it has again a more extended meaning. Bomanticism, in making thought and invention important, made the story, the incidents of life important, made all that aids in telling the story important, dignified the surroundings, the accessories. And we shall see how, from using externals as a means, art has with many come to end in externals, even such as painting a costume well. This class of pictures being often judged by their story rather than by their art, while thus widening the interest in pictures and increasing their sale, says Hamerton, has

^ Laadon'6 Reproduction of the Salon of 180S.

280 ^ HISTORY OF FRENCH PAINTING.

brought pictures under an untrained, often incompetent judgment ; and the principle of ** art for art's sake/' so dear to the true artistic aim, has led painters to hold that the less story the better, and thus to take subjects of little import, even of scarcely any other interest at all, if they afford opportunity for artistic treatment in their purely pictorial elements.

As a result of the prominence of the French school of genre at the International Exhibition at Vienna in 1873, official influence ^ was used in 1874 to restrain the tendencies to genre painting and to give an impetus to historical works. That year that able and ener- getic Director of the Fine Arts who instituted the Prix du Salon, Chennerieres, urged that to promote that style and to form at the same time a complete example of French art, the Ohurch of St. Oene- yidve, or Pantheon, should be decorated by the best artists of France with a series of historical pictures illustrating the life of the patron saint of Paris, St Oeneyidve. His superior, M. Fourtou, the Minister of Public Instruction, promptly approved this proposal as well as the institution of the Prix du Salon, but the artists strongly resisted. Ohennevidres planned the subjects for the Panth6on, and selected the artists to execute them. His assignments were  :

To Galland, The Preaching of St. Denis; to Bonnat, The Martyrdom of St. Denis ; to Pavis de GhaTannes, The Education and Pastoral Life of St. Genevidve; to DeUianay, Attila Marching on Paris, and St. Gtenevidve Haranguing the Be- sieged Parisians ; to Meissonier, St. Genevidve Preparing the Revictualing of Paris, and St. Generidve Distributing Food to the Besieged Parisians; to G^rdme, The Death of St. Genevidye, and her Burial in the Tomb of Cloyis ; to M. Blanc, The Vow of Clovis at Tolbiao, and The Baptism of Clovis  ; to Lehmann, The Crown- ing of Charlemagne, and Charlemagne Among the Paladins of Letters, etc. ; to Cabanel, The Captivity of St. Louis, and St. Louis Rendering Justice, Founding the Sorbonne, and Abolishing Judicial Combat; toBaudry, Joan of Arc atBheimSi and in Prison ; to Chenavard, Christ Showing to the Angel of Paris the Destinies of the Country ; GKistave Moreau was to decorate the Chapel of the Virgin, and J. F. Millet that of St. Genevieve.

Criticism, even derision, was excited, especially at the idea of mural paintings by Meissonier. The artists maintained that it should not be a work of appointment, but of competition. At first those selected declined, and at the Salon, the jury, so great was the feeling, refused to award the Prix du Salon. The Minister upheld the Di- rector, and himself bestowed it upon P. A. P. Lehoux, to whom the jury could not object, as they had already awarded him a gold medal.

> Address of M. Balbie, Minister of Public Instruction in 1878| in awarding the honors, November 5, 1874.

THE NINETEENTH CENTURY. 281

Ohennevidres^ stnng by the oppositioD, resigned, bat his resignation was not accepted. Thns there has been no time when the openly expressed ofScial opinion has not adyocated ^'high art/' the eter- nal type of beauty/' the classic, the academic, i. e., the art of the academies, or of the authorities; the battle between the academic and the natural is continual.

Similar reviews famished in the latter part of the period by the International Exhibition of 1878, and the Salon of Selection of 1883, show that under the official opposition to genre and the popular favor towards it, genre and the historical, often practised by the same art- ist, are assuming a balanced position in the French School. Works of a more ambitious size soon prevailed at the Salons, and now the great size of the pictures from year to year is as conspicuous as was, for a period, their diminutiveness.

PAIlirrEBS OF PERIOD UI« 

The painters of this period may be considered as of two groups. First, the large number of brilliant artists taking rise in the preceding period and in full development at the opening of this. Their ap- springing genius had been disciplined by opposition and even oppres- sion. These influences give them a conservative relation to the art of this period, which is greatly indebted to them for the influences they bring to it of breadth of experience, maturity of judgment, and skill of technique. Of this class are Meissonier, Millet, Gourbet, etc. Second, those who at the opening of the period by the hopes and enthusiasms of youth were linked with the future. The early years of these were characterized by a precocity engendered of the long- continued Government encouragements of the Fine Arts, by the liberty allowed to artists ; and by an inheritance of national devel- opment that has ensured to them technical excellence. This is universally acknowledged. They control the means of significant artistic expression ; they have boldness, zeal, scientific technique, erudition in subjects and accessories, skill of manipulation, brilliancy. Their lack is in what they express. Much of the art is characterized by an absence of high significance and purpose, less intellectual force, less pursuit of the ideal, a trivial motive constituting a sufficient aim, as oftentimes a mere copying of elegant or otherwise interesting externals.

Modernism in its limited sense as applied to the painting of mere externals without aiming at thought and significance is conspicuous in this period  : Petticoat painting" it has been derisively called.

282 ^ HISTORY OF FRENCH PAINTING.

though modemism coyers many kindB of art difficalt of classification that modem taste approves. No donbt Worthy in the fine art he has made of dress^ offers most tempting subjects of this class, but no one of them would have been accepted by the public, had not the exquisite technical skill that reproduces them proved sufficing in its charm. The hand/' as Th6ophiIe Gautier says, has become so perfect in its skill, it can proceed without appeal to the brain. But many forms of this trivial art are, perhaps, the result of an attempt, by those not able, to attain the standard claimed for the highest art, viz., that it should not depend on mental or moral, but simply pictorial qualities  ; that not in the thought it conveys, not in the moral it inculcates, but in the emotion it excites, lies its excel- lence as art, as thus it is made a language interpreting the artist's susceptibility to that of the observer. Aiming at this interpretation simply, aud ill comprehending and executing it, would leave an art poor indeed,' without mental, moral, or pictorial quality, a treat- ment failing utterly of any mission.

The period opened with the d6but of a large group of artists who have become illustrious, all bom in 1824 and 1826. Since it could not be that the goddess presiding over births bestowed genius more abundantly at that time, it must be true that the conditions were favorable to its development 06rAme, Boulanger, Aubert, Hamon, Gabanel, Bouguereau, Baudry, all at about the age of twenty-four, were making their earliest art fiights in the first years of this period of increased liberty, and a stiU younger group, led by Begnault, have continued the characteristics of the school.

Classicism in its severest and its theatrical forms is probably per- manently banished from French art, but entering with this period and lingering throughout it there has been a *^ perfume of the antique." At one time this infiuence is charmingly mingled with romanticism, forming the neo-grec ; at another, lending a grace to realism, it demonstrates that the classic line and pose, in truth, are not to be divorced from nature. During the later part of this period, since the official efforts of 1874, historical painting has resumed a high place. But most of the theories of the old classic treatment, such as the ignoring of refiections and textures, have been totally abandoned. Religious art has, in this period, few votaries. It is placed in the difficult attitude of, if departing from the methods of the old masters,

1 The eminent art critic, H. Taine, cites against the art of the Enfj^lish and Germans as art, that they are influenced in their choice of a subject by the moral feeling of the Oerman races, and indeed the remark has become a commonplace of aesthetic aiticism.

TEE NINETEENTH CENTURY, 283

"belDg acoased of breaking away from tradition, and, if following them, of showing nothing original. It is, in the main, permeated with realism ; there has, indeed, in pnrsuing in religions subjects the familiar or ^* intime treatment, arisen a religions genre.

A classification of artists of any period or country might be based on their spiritual qualities and the relation of these to their powers of technical expression. Absolutely speaking, it is not the value of his motif nor his skill in imitating the natural objects of which his picture is composed that assigns his true rank to the artist, but the power with which he conveys to another the effect on his own mind and emotional susceptibility of the scene through whose repro- duction he is endeavoring to communicate this effect to the beholder of his work. But obviously such a classification is too delicate as well as too speculative, and implies the common acceptance of too esoteric standards to lend itself to the purposes of a history. Pursu- ing, therefore, a classification of the painters by their subjects, their manner of treatment, and the degree of their eminence in an environ- ment as critically competent as that of Paris, and following, as well as may be, chronology, which, however, is sacrificed to the more important connection of results and tendencies of their art, those earlier artists that still cling to the old love of form and academic line, while breathing in something of the new inspiration of emotion, are first considered. Naturally this classic tendency would make them painters of figures. They form the transition from the severe form of the old classic to the more familiar treatment of the later period. This classification can be neither of deep significance nor rigidly binding, but rather an elastic band enclosing in groups. Of these, Hippolyte Flandrin, the pupil, representative, and defender

of the methods of Ingres, whom he always (i809-'64). Lyons. hcld lu revcreut affection, ranks almost as a

Prix d«  Rom«. '32. classioist. Indccd, the higher charm with

M«d. ad cl. '36; itt el. '38. i.*vi-*j  !•• mi* i. ^i-ji

L. Hon. '41. Of. '53. which his dccp religious feeling has imbued

Mom. inct.'53. thc classic Uuc and form, for which he was

Prof. £coio B. A. -57. coutinually grateful to Ingres' teaching, places

his work far above all classicism, and gives him a position alone in later French art as a painter of simple Christian faith, and thus the first great religious painter in France after Lesuenr and Ohampaigne. Amid the intense worldliness of his age, the earnestness of genuine faith exhales from his work as an aroma. His own moral sincerity has thrown over his religious works a veil of feeling that sug- gests a modest shrinking in the presence of the grandeur of even

284 ^ HISTORY OF FRENCH PAINTING.

his conception of sacred characters, the personal formulating of his religious ideaL He had a depth of conviction that wonld have ena- bled him to lead a school of followers into his elevated and charming art, but for his gentleness and timidity, enhanced by a sickly consti- tution, possibly the result of the rigors of poverty endured in his pursuit of art.

He was the fourth of seven children of an artist who had sacrificed his aspirations for historical work and confined himself to miniature to support his family, the struggle for which is painfully indicated in the continued opposition of the mother to her sons learning art, as she '^wished them to learn a business by which they might live/' But the sculptor, Fayatier, passing through Lyons en route for Italy, so appre- ciated the drawings of the two brothers, Paul and Hippolyte, inspired by the glorious wars of the empire, that the mother hopefully allowed them to study with the painter Magnin at Lyons, and subsequently for seven years in the School of Fine Arts there. Finally, besides aiding in the family expenses by selling drawings and lithographs, with a letter to Hersent from the director of the Academy at Lyons and a small sum of money, they set out early in 1829 to walk the dis- tance of one hundred and twenty leagues to Paris. A townsman, M. Ouichard, also a student, whom they met in their first eager visits to the museums of art, expressed with decision the opinion that the painter of the portrait of Am6d6e de Pastoret, which they had just seen, must be his teacher, and the young Flandrins entered with him the studio of Ingres. There Hippolyte found the science, the tech- nique which was to guide his inspirations, the development of form with which to clothe his feeling, and while his style illustrates the higher uses of pure form, his development also illustrates the most favorable phase of Ingres' teachings. The brothers entered also the l&oole des Beaux- Arts, but, though lugres felt certain of this pupil's success, Hippolyte failed to win the Prix de Bome in 1831, and was remanded to his struggle with poverty. He was about to refuse to compete the next year on account of the expenses of models and colors, for commissions, any kind of which the brothers were glad to fill, had ceased for awhile, but at this juncture an order for a portrait of a gend'arme came and he entered the competition. Their life at this time is touchingly told by Hamerton  :

" The winter of 1829-'80 was an espedally severe one, and in a poor little gar- ret of the rue Mazarin two young painters [Hippolyte was twenty] lived all through it without a fire. One of them got (not easily) the oommission to paint the por-

THE NINETJirSNTH CENTURY. 285

tnit of a gend'arme. The price of the portrait was thirty francs, and the gen- d'arme came to the iitUe garret to be painted, hut the ceiling was so low that he could not stand erect, so he had to sit on one of the two chairs that the garret contained. As there was no easel the other chair had to do duty for one, and the painter had to sit on a wooden box that constituted his wardrobe. The gend'arme sat till he was nearly frown, and the painter painted till his hand was numb. The portrait was a success, and the gend'arme munificently gave the painter five francs more than the price agreed upon, and commissioned him to paint his wife. Some years later (1861) the same painter made another portrait also of a man in uniform; but this one . . . wore the grand cordon of the Legion of Honor, and was, in fact, the soTcreign of the order and heir of the Emperor who founded it . . . and the model certainly stood up. Whateyer may have been the qualities of the first portrait, which excited much enthusiasm at the barracks, the latter took place at once as one of the few indisputable masterpieces of the century. . . • . As a likeness it went far beyond the point of mere military resemblance, and sets before us the aspect of the man, the wonderful mildness and gentleness of a nature which, without being bloodthirsty, shrinks at no shedding of blood—the calm exterior of the greatest dissimulator alive. . . . This was his Napoleon III.'*

On the income of the portrait of the gend'arme he entered the competition of 1832. It was the year of the cholera ; one of the competitors was carried off by it, dying on his way to work ; Flandrin was seized, and though determinedly dragging himself to the school on his brother's arm, was at last obliged to yield and to keep his bed for a month. In the little time remaining, by continuing at work through the last day, when the competitors' rooms were thrown open to each other, he finished in time the picture, Theseus Becognized by his Father. It receiyed great admiration from his master, and, though depreciated by the opposing school, won the prize, the first prize given to a pupil of Ingres. Before he went to Bome it gave Flan- drin prominence in the great excitement which it aroused. But to him it meant also support, and support amid the master- works of art, a grand fruition of his patient painting of the gend'arme in the icy garret for six dollars. As a further happiness his brother, Paul, won the prize for landscape in 1834, and, at the close of that year, Ingres succeeded Horace Vemet as director of the School at Bome ; thus the sympathetic teacher and pupils were again to- gether. Flandrin there, through his natural predilections, minis- tered to by Ingres' appreciation of all that Baphael offered of artistic nourishment, dereloped the qualities of elevated painting, and espe- cially '^mastered the significance and sentiment of religious gesture. **

To speak of his less elevated art first, his qualities were equally adapted to portraits. In these his sincerity still counted ; it pre- vented exaggeration or studied attitude ; it perceived truly, and truly

286 -A HISTORY OF FRENCH PAINTING.

reprodnoed. His merit commanded for him more orders than he conld filL ' Those of Mile. Maison^ known as The Yoang Oirl with a Pink, which shows his power of coloring, a power almost forgotten in his porsait of line and form. Napoleon III., Prince J6r6me Bonaparte, and Madame de Bothschild are masterpieces. He was not, however, always at an eqnal ease with his models. His earliest exhibition (1836), Dante Conducted by Virgil Through Purgatory (Lyons) and The Young Shepherd, took a second class medal, and his next (1837), reexhibited in the IJniyersal Exhibition of 1855 and now in Nantes Cathedral, St. Olair Healing the Blind, takes rank as the best of Flandrin's oil paintings. The trusting faith of the Saint, the differing emotions of the crowding spectators, their grand heads and fine drapery, all unite to make it admi^ble.

In the Salons until his death, except the six, 1838, '44, '49, '50, '52, and '53, he exhibited fifty-one works  : thirty-four were portraits of women, and seventeen of men. He has at the Louyre only A Portrait of a Young Girl and A Study, but has pictures in other Museums of France  : Lille, one ; Nantes, three ; Lisieux, two ; Lyons, two  ; Montauban, one  ; and Versailles, five.

His religious masterpieces are mural paintings : at Paris, in the Church of Si Germain des Pr6s (1842~'61), St. S6verin, and a frieze of St. Vincent de Paul (1852-'54) ; at Nlmes, in the Church of St. Paul (1847-49) ; and near Lyons, his native town, in the old Church of St. Martin d'Ainay of the eleventh century.

He had a clear understanding of the requirements of mural painting, and gave no large perspective, no great depth, no sharp projections, nothing to interfere with the proportions of the edifice.

The nave of the Church of St. Germain des PrSs, of which he decorated the sanctuary in 1848, was begun in 1865. For its frieze he planned the representation of Heb. xiii. 8  : '^ Jesus Christ, the same yesterday, to-day, and forever." The Yesterday and To-day were carried in parallel couplets of picttires, one from the Old Testa- ment showing Christ symbolized to the Jew, and one from the New Testament showing him revealed to the Christian ; the Forever he was to represent in the Ascension and Scenes of the Last Judgment, but he died before finishing the work, which was assigned to his brother to be executed from cartoons which he left. He had gone to Bome for recuperation in 1863, but his health still failed, though his mind and heart grew strong on renewing the scenes of his

1 It is related that a lady oDce offered him 80,000 francs to paint her portrait, and he quietly bowed her out of his studio without a word.

TSE NINETEENTH CENTURY. S87

fond labors of thirty years before. With his master, Ingres, he was making earnest protestations against the reforms of the  !&ole des Beaux- Arts of 1863, of which be made a personal sorrow, when, in a weakened condition, he was seized by the epidemic of small-pox then raging, and calried off in three days (March 21, 1864). After death he was brought and laid for funeral serrioes under the blank space left for his painting of The Last Judgment in St. Germain des Pr6s. In Oleyre's antique dreams arose a foreshadowing of the neo-greo movement, which took definite form in the works of OirAme, Hamon, chariM Qabri«i Qi«yr«  J?icou, Damcrcz, Aubort, and their companions, (i8o6.'74). ch«viiiy. who camo to Oleyre from Delaroche when that M«d. -43? M*d. '45. ^^^y giQg^ his studio (1844), In notes left by

Hamon he calls Gleyre an antique man," and adds  : He gave me a horror of Hngerie or imitation. M. Gleyre loved original things that one had seriously thought out He never jested on that holy thing that is called art/' But the neo-greos did not fully attain his aspirations. He had the sentiment of style  ; beauty  ; and form, pure, delicate, exquisite, ideal. Of his pupils, Hamon and Aubert were his true artistic posterity. He had a power of giving clear and compre- hensible form to poetic conceits and fugitive fancies: he was a painter of dreams. A Swiss, be studied in Paris with Hersent, but took Ingres for his model and, like him, slowly matured his works. For four years he copied the old masters in Italy (1833), and for six years studied in Sicily, Greece, and Egypt. His earliest works were A Young Nubian Woman, and Diana in the Bath (1838) ; his first im- pressive work, St. John Inspired by the Apocalyptic Vision (1840). He made his last exhibition in France, The Dance of the Bacchan- tes, in the Salon of 1849, thus leaving his work there when and where the neo-grecs began. After this, owing to a quarrel with the administration, he sent his pictures to Switzerland, and there up to 1863 exhibited :

Diana Hunting; Naosloaa ; DaphniB and ChloS; Viigin with Christ and St. John; Bath and Boas ; Herooles and Omphale (1868); Minerva and the Graces; Sappho; The Ghanner (Basle Museam).

His life was a silent but productive one. His picture. Lost Illu- sions (Walters Gkdlery, Baltimore), suggested by a twilight on the Nile, illustrates admirably his poetic and distinguished qualities.

A iMd, dreamy flgare, bent with age and depressed with memories of lost pleas- ures, sits upon the shore, whUe a boat fall of gay beings, representing, said Glejrre,

• • all that was dear to youth/' floats away with mnsio and laughter. The Bath

of a Toung Roman (1868, sold at the Johnston sale, Xew York, 1876, for $6,200)

288 A. HISTORY OF FRENCH PAINTING.

shows, in all the beauty of a Greek statue, a life-sised, nude flgaie of a Bomaa child about to be plunged into a bath. The attending maids, one extending a blanket ready to reoelTe it, are rendered in classlo form. His Evening (184S) is in the Luxembouig.

Many brilliant artists issued from his studio^ among them Tonle- mouche.

Ohenavard first became conspicuous through the favor of Ledm- BolliUy who, amid the turmoils of 1848 and 1849, assigned to '^ Giti- » . . u /«u ^ zen Chenavard a commission for decorating the

Paul JoMph Ch«navard ^

(i8o8 ), Lyons. Panth6on. The friend of Delacroix and pupil of

L.Hon. '53. lugros, this artist combined in his predilections

the opposing forces of his period, the design of his master and the feeling of his friend* He was also a pupil of Hersent. Even more than Ingres, to use a phrase of that master, ^' he fed on Michael Angelo. By mental constitution and preyious training he was adapted to assimilate that substantial nourishment, and to win it he spent seyeral years in Italy. His connection with the political events of his time had the result of retiring him from before the public, and of leaving as the only exhibited product of twenty years of the comprehensive thought of his philosophical mind, of the informed style evolved, of the power of hand acquired during twenty years, one picture--The Divine Tragedy, This, after having received a place in the Salon of Honor at the Exhibition of 1869, was relegated to a less conspicuous position on account of its questionable ortho- doxy. Ledru-BoUin, the Minister of the Interior, after the Bevolution of 1848, had opened to Ohenavard a credit of 30,000 francs for begin- ning the decoration of the Pantheon. This was to illustrate by a series of pictures the development of the human race, beginning with the deluge. The less important spaces were to contain the divinities of all ages, and even for the pavements allegories were planned. For all he made forty compositions, eighteen of which were very care- fully executed in highly finished cartoons. Ledru-Bollin, amid the great responsibilities devolving upon him during these disturbed times, took time from his sleep to examine them as they were produced. They were exhibited in 1855, and won a first class medal. Through the influence of the clergy it was decreed, a few days after the Ooup d'l^tat of 1851, though the likenesses of Bousseau and Voltaire were upon its front, that the Panth6on should become a church. Thus losing their proposed destination, only one of Ohenavard's cartoons, The Divine ^t^g^^ly^ ^^ afterwards finished as a picture, and it is now in the Luxembourg. It contains forty colossal figures, representing the

THE NINETEENTH CENTURY. 289

!Frmity striking^ by the aid of Death and the Angel of Justice^ the heathen gods from existence. It is fnll of significant and wonderful invention. Ghenavard had exhibited in 1833^ in the Hall of Drawings, a drawing of The Trial of Louis XYI. Louis Philippe yery unexpect- edly entered the exhibition. After gazing for a long time at the picture, in which his father was placed between Sainterre and Marat, he forbade its remaining, and ordered it to the Tuileries for further examination. It was subsequently exhibited in the ITniyersal Exposi- tion of 1855, and is now owned by Prince Napoleon.

Pils was the product of the National School of instruction, gradu- ating in 1838 at the  !^cole des Beaux-Arts, when, with the picture, . ,, ,. , , , ^,. Peter Healing the Cripple at the Qate of

Itldor* Al«xandr«  August* Pilt ., m i i 11 Vk • ^ t* -rr

(i8i5-'65), Paris. thc Tcmplc, hc tooK the Pnx de Borne. He

Prix d«  Rom«  '38. \^j^ jj^^ iustructiou, also, from Lethidre and

Msd. add. '46, '55;'ttcl-'57,'fl7. tk x t io/jo i> j.1. i. 1 i j

M«d. Hon. '61. Picot. lu 1863, whcu that school, under

L. Hon. '57. Of. '67. ^he Miuistcr Nieuwerkerke, was withdrawn

from the direction of the Institute and its departments rearranged, he was made, with 06r6me and Oabanel, as a propitiation of the classical influence, one of the three professors of the  !l£cole des Beaux- Arts. His career was, indeed, full of honors. He painted subjects from Scripture, mythology, and history, until he travelled in the Crimea and made sketches for painting the scenes of the Orimean war, when he became a military painter, and is one of the last representatives of  :the older panoramic style of battle paint- ing, now superseded by the modem treatment of incident. As early as 1849, Bouget de Flsle, its Author, Singing the Marseillaise, a pic- ture touching upon both departments that were to form his practice in art, the historical and martial, drew marked attention to him. In later works he is seen at his best in The Battle of the Alma, boughb by the Oovemment in 1861, and at his worst, perhaps, in a Beception. of Algerian Chiefs in 1860, exhibited in 1867, and for which he re- ceived great honors from the Emperor and Empress, for in it all i& made to flatter the reigning power.

Heinrich Lehmann, naturalized in France in 1847, was made a member of the Institute and the successor of Pils as Professor in

Ksrl Ernst Rudolf H.inrich L.hm.nn ^^^ ^^^ ^CS BcaUX-ArtS. Hc WaS OUC oi

(i8i4-'8a). K*ii. the forcmost portrait painters of his time,

L.l^o^n*'. •46?*o?.^M.'*°^ *°* ^««  employed by the Government in M«m. Inst. '64. mural painting in the new H6tel de Yille

M.m. Sup. Council of B. Art. '75. ^pou its rebuilding after 1870, a success

largely obtained through the influence of his master, Ingres. Hig 19

290 A. BISTORT OF FRENCH PAINTING.

Oennan tendencies were never qaite lost in his French adoption. He attempted to adhere to his master's feeling for form, though not always snccessfully. He, however, added a charm to Ingres' classicism by engrafting upon it something of his German mysticism, and was led by the trner tendencies of his later art to combine nature with that master's teaching, and painted a Hamlet after Delacroix and a Mig- non after SchefEer. But at his death he left in the terms of his bequest of a prize, a perpetual expression of his contempt for '^ the degradation which the unclassic doctrines of the day favor." He also improved in color in his later works, but a weirduess of coloring, ^' pallid as that of a dream," always had a great attraction for him. Fine draughtsmanship and conscientious labor of great finish in detail gave a permanent value to his works.

Oouture, who also, in his style, turns towards the preceding period^ was the pupil of Ores and of Delaroche. Gros said to him one day :

• • Mv little fellow, vour drawiuirs are like those

(i8i5-'79), s«niic. of au old academiciau. Ah, if you were only

Mtd. 3d ci. '44; ••* ci.'47/55. older, we would crush those abominable roman- cers." He thus bears the approval of the school of which the strength was design* He is euphoniously described as '^trapu, membru, and moustachu," squat, strong-limbed and moustachioed. Of great vigor and firmness of will, yielding nothing to the idiosyncrasies of others, conceding nothing to the mode, but, from his first picture, A Young Venetian After an Orgy (1840), to his last, exhibited after his death. Tin Pifferaro (1879), maintaining his own individuality, he could well combat with '^ abominable " adver- saries, were they romancers or realists. But it was not to victorious and permanent results, for, though vigorous, his talent, like his life and character, was undisciplined and, though fecund of grandly conceived designs, he seldom continued them to completed pictures. Oonception after conception crowded each other, until all would be superseded by another subject. These abandoned sketches, gathered at a posthumous exhibition of his works, gave to it the sad appella- tion, '^ The Apotheosis of the Incomplete." To the able design early approved by Gros, he added a charming color, which is rich and golden in general, though sometimes silver lights prevail ; a technique that for quality has been rarely surpassed  ; and a composition which enabled him, like David and Horace Vemet, to throw large numbers of figures into pleasing relation, — ^to make a picture. He worked largely from the intellect, which gives to his pictures deep signifi- eance ; makes most of them keen satires with a general inclination

THE NINETEENTH CENTURY. 291

to allegoiy. But he tempered the purely senBnons tendency of French feelings although he did not fail to present the passions and senti- ments required by the scene which now represents him among the distingaished works of the Luxembourg* He took the second Prix de Bome in 1837, and his Troubadour (1844) commanded a price of 56,000 francs (at the Gsell sale). But all preyious successes were eclipsed, and, as it resulted, all future ones preTcnted by his famous picture. The Decadence of the Bomans, painted in 1847 when he was only thirty years of age. His preyious works had, indeed, through his timidity perhaps, possessed an obyious conyentional side, but here his individuality arose to frank and free expression of itself. The picture was seemingly a reconciliation of the sculpturesque classicism of Ingres and the passion and romantic ardor of Delacroix. '^ The enormous canvas seemed, indeed, to have aflame playing over it as of Raphael, kindled to emotion by Bubens," says one enthusiastic com- mentator. To drawing and color it added a wonderful power of clearly telling the story. This one picture, painted at thirty, did at once for him what G6ricault's masterpiece, painted at twenty-eight, only eventually did for him — it made him celebrated : he was ac- claimed and idolized at the time. It gave him a European reputation.

In detail. It presents an orgy, symbolio of the vices that led to Berne's rain, placed in a Oorinthian haU, around which stand the statues of the men who had made Bome  : Brntns, Pompey, Gate, and Germanicns. Thus ingenionely was seonied an antithesis of Roman history in the contrasting presence of the Roman virtues. The sky in the freshness of dawn is seen through the open architecture, and worn-out Rome is symbolised in the enervated actors of the waning feast, who are men fit for conquest — ^Romans, but with a manhood wasted. In the central foreground the magnificent figure of a woman extended on a long couch, some- what in the attitude of the figure in one of the tympana of the Parthenon, looking with large eyes wearily out of the picture, seems to symbolise Venus and convey an impression of even her sense of the dissatisfying nature of such joys. This was a portrait of the artist* s futoie wife.

An early success thus secured, the artist relied, without the cul- ture of wider travel or study, upon the genius which he undoubtedly possessed, but which an over self-esteem and pride now blighted, and he soon became hardly more than a critic of society and art, paint- ing satires which were, however interesting, wholly unworthy of his talent One of these, The Bealist, was a burlesque upon Oourbet's claim, that artists should paint nature's unmodified features.

It represents an imaginary pupil of Oourbet assiduously painting the head of a boar, while the classic bust of Alexander is used for a stooL Around the room

392 ^ HISTORY OF FRENCH PAINTING.

are seen, in the place of the usoal brio^a-brac of an artist's stodio, the sapposed sonroes of realiBtic inspirations : a cabbage, an old lantern, and a donted shoe.

The drawing for this was photographed and eztensiyely purchased by artists, who maintained that Contore had out-done the realist on the realist's own ground. He receiyed oonunissions under Napoleon m.  : in 1856 for The Volunteers of 1793^ the future army of Kapoleon I., and (1857) for The Christening of the Prince Imperial, designed for a ceiling of the Louvre. This brought him among the official painters of the Court, but, because of a quarrel with the Empress about the baptismal robe, the order was withdrawn and the picture left unfinished. The incident led him to refuse to exhibit again at the Salons.

Among his works, a study for The Yolnnteers is in the Vanderbilt Gkdlery, and a sketch of two figures of it is in the Boston Museum, where it is among the most valued pictures of the collection. Damocles (1872) ; Jocunda ; Love of Qold (1844) ; The Gipsy (1862) ; The Falconer (Collection of M. Baucune, Berlin, 1856) ; The Betum of the Troops from the Crimea ; the decoration of the Chapel of the Virgin of St. Eustache; and Day Dreams (Wolfe Collection, New York, and Walters Gallery, Baltimore), a boy fragile, melancholy, and beautiful, in a rererie orer his soap bubbles, are others of his works. Damocles, also called Liberty in Chains, was intended to express the slavery into which Art and Letters had fallen under Napoleon III. In The Thorny Path he satirizes the influence of woman by a beauty cold, hard, but graceful, and radiantly clothed in gauze, driving before her carriage with a whip through a path in which thorns grow high, helpless men of all times and classes, old Silenus with bloated form leading.

He published a book (1867), '^Studio OonrersationBy" which con- tain valuable suggestions on painting.* Famous through his Org^, but never again equalling it, his fellow-artists rendered indifierent to him by his insufferable conoeity he was obscured from sight for some years before his death, when he was tauntingly called, only a teacher of Americans. But among them were dereloped many distinguished ones, as William M. Hunt, George B. Butler, and others.

Following in the semi-classical style almost all of whom are Hors Ooncours, are :

Louis Janmot (1814- \ Lyons : pupil of Orsel at Lyons and of Ingres at Paris ; medal 8d class '45  ; 2d dass 'R9 ; rappel, '61.~Charles Alexandre Francois Morin (1809-'86), Bouen : pupil of Chaumont and Ldon Cogniet ; Legion of Honor '65.^Victor Louis Mottez (1800- ), Lille : pupil of Picot and of Ingres ; medal 8d

> While the Prasslan army was occupying France, Couture's house bad been appro- priated to its use, and be himself was even reduced to finding substitutes for bis linen which the enemy requisitioned for cleaning their guns. His condition attracted notice in the street from a newly-arrived general, who, learning that It was Gouturor oaased his house to be at once cleared for bis use.

THE NINETEENTH CENTURY. 293

elflss '88; 2d dasB '45; Legion of Honor '46.— Charles-Loois Mnller (1815- ), Paris: known m Mnller of Paris; pupil of Gros, Oogniet, and the &X)1e des Beaux- Arts  ; medal 8d dass ^88  ; 3d olaas '46  ; Ist clasB '48, '55, Exposition CTniyeiselle : Legion of Honor '49 ; (Moer '59 ; Member of Institute '64.— Alphonse Ouri (1838- ), Versailles: pupil of Cbsse and of Delacroix. Aside from his decoratiye works in the Paris Hdtel de ViUe; the Tuileriee; the Prince of Wales' Hotel, Fould, at Sandringham; the Khedive's palace at Cairo; and the Palais Karisohkin, St Petersburg, which, by the Legion of Honor '68, made him Hors CSoncours, he has few works.— Dominique Papet7(1815-'49), Biarseilles: pupO of Cogniet and of the £cole des Beaux- Arts ; Prix de Rome '86; dying at thirty-four, Mb early promise was unfulfilled. — Henri Pierre Picou (1823- ), Nantes  : pupil of Delaroche and Gleyre ; medal dd class '48, '57.— Jean-Baptiste Poucet (contemporary). — Saint Laurent-de-Mtlres  : pupil of H. Flandrin  ; medal 8d class '61 ; medal '64 ; worked with Flandrin for nine years on his works in St. (}ennain-des-Pr^ at Paris and in the Ohurch d'Ainay at Lyons. — Prosper-Louis Boux (1817- ), Paris: pupil of Delaroche, and, in Delaroohe's style, painted Delaroche's subjects of histor- ical genre ; medal 8d class '46  ; 2d class '67 ; rappel '59.— Louis- Henri de Beudder (1870- ), Paris  : pupil of Ores and C^iarlet ; medal 8d class '40 ; 2d class '48  ; Legion of Honor '68.— Fnngois Charles Sayinien Petit (1815-'78), Fr6mily : pupil of Augusts Hesse ; medal 8d class '84 ; 2d class '55, Exposition UniyerBelle '64. — Jacques PUliard (1814- ), Vienne  : pupil of Orsel and Bonneford ; medal 8d dass '48 ; 2d class '44, '48.— Jules Richomme (1818- ), Paris  : pupil of DrSll- ing ; medal 8d class *4Q ; 2d class '42  ; rappel '62 ; rappel '68 ; Legion of Honor '67. — Emile Signol (1804- ), Paris  : pupil of Blondel and Gros  ; still paints the history and Scripture scenes which he has painted for two-thirds of the century, and in which he has won honors during all its changes of standards ; 1st Prix de Rome '80  ; medal 2d class '84 ; 1st class '85  ; Legion of Honor '41 ; Gfllcer '65 ; Member of Institute, '60.— G. L. Tabor (1818-'69), Paris: pupil of Delaroche; medal 1 867.— Louis COiarles Timbal (1822-'80), Paris: pupil of DrOUing; medal 2d class '48, '57, '59 ; Ist class '61 ; Legion of Honor '64 ; his picture. The Agony of Gur Lord (1867), is in the Luxembourg. — ^Thlophile Augusts Yauchelet (1802-'78), Passy : pupil of Abel de Pujol and Hersent ; Prix de Rome '29  ; medal 9d class '81 ; 1st class '46. '61  ; Legion of Honor '61.— Ldon Yiardot (1805- ), Dijon : pupil of Ary Scheifer ; medal 2d class '85.— Jean Louis Hector Vigor (1819-'79), Argentan ; pupil of Monyoisin, Delaroche, DrSUing, and Lehmann.

The painting maintained by a class of artists somewhat in the old historical style forms a connection with the renewal, after the official efforts for that pnrpose in 1874, of historical painting in the younger artists, chiefly pupils of Bongnerean, Oabanel, and others, painters of the figure. As these masters form a transition to it, it is placed after them.

Though allied to this class, the school of the neo-grecs is left to be introduced by its special leader, 06r6me, and precedence is now given to the painting of landscape with animals, and to the Oriental- ists of the Third Period, as continuing classes of art inaugurated and practised in the preceding period, and thus the next older of the

294 ^ HISTORY OF FRENCH PAINTING.

family groups. The Orientalists in their practice inclnde both land- scape and genre.

PAINTBBS OF LANDSCAPE WITH AinilALB.

Bosa Bonheor, that honored master" as she is termed by Olaretie^ is the greatest woman-painter of animals of France and of

all lands. She paints them with a simple

Mari«  Rota Bonh*«ir 1.1 11 1 n '^i •

(182a- ). Bordeaux. hearty love^ as they are^ and thus with more ox

Mod. 3d el. '45; uaturc than Landseer, who invests them with

Id ct-Xs't!: ^" "■ human wit and inteUigenoe ; and with lesa of a

L. Hon. 186} from Emprou. sensitiTenesB to piotoiial quality and color than

rrpoid cV.:X': '*"■ '^y°°- H«' heartiness imparts a charm to

Cross Royal Ord. isaboiia tho all hcr works, aud WO arc drawn to her creations

Catholic. .880 as to the "beasties*' themselves, and derive

Exompt by spocial Ordor, 1853. - , , . , - - . ' , —

from them the same wholesome impulses. En- gravings have made her pictures well known, but they have not made known, except by implication, her early life in which love of animals and drawing were mastering passions ; nor her early home, lacking material wealth, but rich in the high aims of a family of artists ; nor yet, except still by implication, the charming home of her later years, the OhAteau of By, a village a few miles from Fon«  tainebleau. Her father, Baymond Bonheur, lived at Bordeaux, where he painted portraits, landscapes, furnished illustrations to publishers, and gave lessons. He was a thorough republican and personally acquainted with the revolutionary leaders. Borne down by poverty, he was still more embarrassed by marrying one of his pupils as poor as himself, but as she was a fine musician, the joint income from their lessons had enabled him to begin for the Paris Salon two large pictures, when his spirit was broken and his life burdened by her dying and leaving him with four children. In 1829 he removed to Paris and confided his children to the care of a worthy woman living near the Ohamps Elys^es, whom they fondly called '^Mother Catharine." Bosa, who was the eldest, passed whole days of absorbed life in the Bois de Boulogne, playing truant from the school of the Sisters of Ohaillot. It is said she spent hours on the grass studying the clouds. Then she would form a background by smoothing the dust, and, regardless of the wondering spectators, draw on it with a stick what was before her : the silhouettes at the horizon, the passing people, but above all, the animals. Before leaving Bordeaux, her parents would often miss her, and had come to know that they would find her under the spell of the coarsely-carved and rudely-painted

TEX NINETEENTH CENTURY. S95

wild boards head which seired as a sign at the neighboring pork butcher's. From these pnrsaits she was apprenticed to a milliner, but in a week her sad and wan face caused her father much sorrow, and finally he joyfully announced that he had arranged with Madame X., the directress of a boarding-school, to receive her, three additional lessons from him in the school per week being the com- pensation. There, after yarious other annoying misdemeanors, strik- ing and cunning caricatures of her companions and teachers, fixed upon the ceilings by means of threads and pellets of bread, were traced to her. Bosa was condemned to dry bread, writes a biographer, but the admirable sketches were retained to enrich the portfolio of Madame X. Drawing fascinated the girl who has since grown into the noble-hearted and generous woman, and who must then haye pos- sessed the germs of fine character. It claimed her attention from all else, and as also the richer pupils taunted her with her poverty, her father removed her. He had married in 1842 a second wife, Madame Peyrol, a widow with two sons. Her activity and intelligent manage- ment multiplied, not only the loaves and fishes, but all the necessaries of comfortable life. Much loved by all the large family, for whom she wisely cared, she was fondly called ** la mamiche, the equivalent for mother in her native Auvergne dialect. Bosa then for four years faithfully drew from the paintings of the Louvre, and with two small pictures, Ooats and Sheep and the Two Babbits, which now hangs in the studio of her sister, Madame Peyrol, made, in 1841, her first appearance at the Salon. By her talent and industry the pressure of poverty was soon removed from the household. It can well be imag- ined that in their community of tastes, the Bonheurs were a happy family. All loved art, and all loved animals, Bosa with peculiar inten- sity. In the evenings of those early years the father sat in his arm- chair and gave advice and lessons to his pupils and to his children, of whom five, the fifth being Oermain, the child of the second marriage, and now a landscape painter, lived proudly to sign themselves each, "Pupil of my father."

Auguste, bom 1824, painted animals with landscape backgrounds of more mellowness and beauty than Bosa's. He attained the honor of

August. Franyoi. Bonh.ur Ohcvalier of the Lcgiou of Honor in 1867, and (i8a4-'84). Bordeaux. but for thc cclipsiug fame of his sister would

^•^j ^^ *'•'**' '5^* have an even wider reputation than he has.

lit ci. '6ii '63. Isidore Jules, born 1827, is a sculptor of animals.

• ■• "**"• '^7. He appeared in the Sdon of 1848 with both a

painting and a piece of sculpture, but afterwards abandoned painting.

296 A mSTORT OF FRENCH PAINTING.

He received medals in 1865 and 1867. Jnliette, now Madame Peyrol, is also a painter of animals, and received a medal in 1865. From her husband's foundry the statnes of her brother, Isidore, are produced. Her two children are continuing into the third generation the artistic tendencies of the family. Madame Peyrol has in her studio, over her husband's exhibition room, a portrait of her sister with short hair and in simple female attire of green, painted by her brother Auguste. In those years, in the early home, the father in his teachings used to predict that the new French School would be landscape, with such men as Decamps, Franpais, Gabat, Bousseau, Troyon, and Corot as leaders and teachers. One evening, it is related, one of the fiunily was reading aloud, as was the custom. The book was George Sand's La Mare au Diable, and the passage, the celebrated description of a ploughing scene, with which it opens  : ** The ploughman young and robust, the ground rich, eight vigorous oxen, and a bright autumn sunlight lighting up the scene  ; " Madame Sand doses the descrip- tion with the comment : *^ It would be a noble subject for a painter."

• • Yes," interrupted Bosa, the author is right." Bosa painted it.

It was exhibited in 1850, is her greatest work, and has a place in the Luxembourg — Plowing in the Nivemaia In England, however, where in later years she is more highly esteemed even than in France, her masterpiece is considered to be The Horse Fair. This work occupied her for eighteen months, and, in frequenting the old horse market on the Boulevard de I'Hopital for the studies of it, she adopted male attire to avoid notice from the frequenters of the place.

It is a group of twenty or more strong Peroheron borBes ; they ore white, dappled, black, and splendid in the energy of action and draught power indi- cated. Some are ridden, some led by sporting, tricky grooms, whom, notwith^ standing their frequent jests at her expense while making her studies, she has faithfully painted as exultant in the mastery of the noble brutes. The scene is in a familiar spot of Paris, with the dome of the Inyalides and an ayenue of trees seen in the background.'

1 The French Oovernment wished to buy it, but it was sold into England to Gambart & Co. for $8,000 before the dose of the Salon ; brought thence to Weehawken, N. Y., by Mr. W. P. Weight in 1867, who paid |6,000 for it, it was up to 1887 in the gallery of Mr. A. T. Stewart, who is said to have paid for it ^,000 ; at Mrs. Stewart's death it was sold (1887) to Mr. Cornelius Vanderbilt for |52,000, and presented to the Metropolitan Museum, New York. While owned by Gambart & Co. It was engraved by Thomas Landseer ; as a more convenient form for the engraver, the artist made a replica of half the siae of the original. This was purchased by Mr. Jacob Bell, who bequeathed it to the National (HUery, London. The artist, in the desire to be better represented there, then painted a larger replica, but the exchange was never effected, and this sold in 1886, at Christie's, for $15,000. A third replica, small and lu wate^color, is also owned la England.

THE NINETEENTH CENTURY. 297

Solid and firm modelling ; accuracy of action rendered with spirit ; fidelity to patient observation ; the representation of space above, before, and behind her figures ; fine rendering of the spirit of the animals, are the qualities of the picture, and with landscape of great grandeur added, represent her style. In acquiring a large and broad manner of treating the horse she has freely acknowl- edged indebtedness to studies left by 06ricault. From her d6but in 1841 to 1853 she exhibited annually at the Salon, omitting that of 1852, as she was then working on her Horse Fair, which graced the Salon of 1853. Her father never saw this, as he died just before it was completed  ; but when, on his deathbed, he asked for Rosa's latest work. Plowing in the Nivemais was shown him, and he expressed great satisfaction. She had obtained for him the place of Director of the Free School of Design for Oirls, founded through her efforts, but in 1849 she took tho position herself. In this she is aided by her sister.

Her principal pictures number about forty, but between the exe- cution of these she has painted many smaller ones. After her Horse Fair she travelled in the Pyrenees, and took thence many subjects. She has painted some portraits, one of Oeorge Sand at the age of twenty-five, which she presented to that author. She has also done some works in sculpture. One day, in 1865, she was surprised by the Empress Eugdnie, who entered unannounced, kissed her as she rose from the easel to receive her, delayed a few moments, and was gone. The woman artist found that the woman sovereign had pinned upon her working blouse the Gross of the Legion of Honor. The Emperor had been hesitating to confer a decoration on a woman when the Empress, having, during his absence, been left Regent, drove over from Fontainebleau near by and, in its bestowal by her hand, added to its value. The Empress boaght Sheep on the Seashore from the Universal Exposition of the same year. The artist has since re- ceived the Leopold Gross of Honor, from the King of Belgium, and by order of the Grown Prince of Prussia her residence was respected by the Prussians during the Franco-Prussian War. Says Henry Bacon :

'* Her home, the Chftteau of By, dates from the time of Louis XV. Since her purchase of it she has raised the roof, turned the chapel into an orangery, and added a picturesque building, which contains, on the first floor, her stable, and, on the second, her studio. In a wire enclosure on her grounds are two chamois from the Pyrenees. Other enclosures hold sheep and deer, which, even to the stag with antlers of six branches, receive the caresses of their mistress like pets. A cow and bull graze upon the lawn ready to serve as models, for which they, as the finest of

208 A BISTORT OF FRENCH PAINTING.

ti&eir kind, are well worthy. Two life-ease dogs, the Boolptored ftniroftLi of her brother Isidore, are f onnd supporting the chimney in her stadio, and at the end of a linden avenue in her lawn is a Gaul attacking a lion, in bronze, also by him. In her studio is also found a landscape by her father/' '

By special decree, July 27, 1853, exemption was accorded her. Her principal works are  :

Two Babbits ; Goats and Sheep, 1841 : Animals at Pasture (eyening) ; Cow Lying in Pasture ; Horse for Sale ; Shorn Sheep (terra-cotta), 1842 : Horses Going from Watering  ; Horses in a Meadow, 1848  : Cows at Pasture ; Sheep in Meadow ; The Meeting (landscape with animiJs), 1844  : The Three Mousquetaires  ; Sheep and Lamb Lost in a Storm ; Ploughing  ; Cows and Bull ; Bam, Sheep and Lamb; Cows at Pasture, 1845 : Flock on the Boad ; Bepose ; Sheep ; A Block ; Sheep and Goats  ; Pasture, 1846  : Ploughing ; Sheep in Pasture ; Dead Nature  ; Study of Horses, 1847  : Oxen and Bulls  ; Sheep in Pasture ; Pasturing of the Oxen it Solers  ; Dog Bunning (study) ; The Miller on the Boad  ; Ox, Bull and Sheep (in bronze), 1848  : Ploughing in the Kivemais (Luxembourg) ; Shadow, 1840  : Morn- ing (sheep), 1851  : Horse Fair, or Market at Paris  ; Cows and Sheep, 1853  : Hay- ing in AuTergne (Luxembourg), 1855  : Mare  ; Sheep on the Seashore (bought by the Empress Bugdnie) ; Ox and Cows (Scotch) ; Shepherd ; Colts of Arragon ; A Barque ; Stags ; Kids in Bepose ; Skye Ponies ; Scotch Shepherd, 1867, B. U. Works ordered chiefly from England, that were not usually sent to the Salon, are: The Painter, 1868 : Sheep at Pasture, 1871 : Forest of Fontainebleau, 1873 : Meadow near Fontainebleau ; Monarch of the Glen ; Pack of Wild Boars, 1879  : Foraging Party; On the Alert; Lions at Home, a charming piece of animal genre represent- ing a family of lions in their natural relations in their cage, 1881.

Jacque, who is high in rank among the painters of landscape and animals, and who excels in both, harmonizes the two with true feel- ing. He first became known as an etcher. (1813. ). Paris. ^^^^ MiUet, for a time he sought elegance

3d ci. Mad. 's' for Engraving. of stjlc, but abandoned it to givc to the

rr::.'.«;:;^1n«:r"""- ^«^ <>* tis Bcenes 0% the rnnd look Rappai '63. Mad. '64. natural to them. This change took place

l! Hon*** 67."'^"' ^' "■ ^' ^" ^ 32^ue about 1844 ; in Millet, a little

later. Before that artist's merit was gen- erally acknowledged, Jacque highly appreciated Millet's art ; they

> A further description of a ring at her carefully dosed gates makes the bell set the evidence of her love of animals rererberatlDg : " The jingle of the bell is at once echoed by the barking of numerous dogs ; the hounds and bassets in chorus, the grand St Bernard In slow measures like the bass drum in an orchestra. After the first excitement has begun to abate, a remarkably small house pet that has been somewhere in the in- terior, arrives upon the scene, and with his sharp, shrill voice again starts and leads the canine chorus. By this time the eagle in bis cage has awakened, and the parrot, whose cage is built on the comer of the studio, adds to the racket.*' (Henry Bacon in the Century Magazine, Oct., 1881)

TffH NINETEENTH CENTURY. 299

became friends, and between them a reciprocal influence was deyel- oped. Jacqne still has his home in a little house with a large stndio at the end of a garden at Barbison, the place sanctified by the life with its patient sufferings of poyerty and the death of both Millet and Bottsseau.

Haying barely left school, Jacque entered the office of a notary, but after a second attempt to pursue that profession, began at seven- teen the study of engraving — ^joining the army, however, in the exciting period of 1830, and loyally remaining in it for the required seven years. But in the army, as in the notary's office, he made drawings, selling them for a franc apiece. Resuming his arts, he worked for two years as an engrayer on wood in England, and began to paint in 1845. His drawing has something of the precision derived from his preyious habits of engraving, but in rendering color he showed early almost a positive blindness ; green, particularly, he makes crude and harsh. Indeed, his range of color for a time was limited to a few grays and yellows, for which a dull brown was sometimes substituted. His later works show a vast improvement in this respect. But his most delicate and charming renderings are best shown in his etchings and engravings. These, of which four hundred and twenty have been catalogued, are of the highest merit Although he prefers cows and sheep, and as a painter of these animals holds a high rank, he has been called the Baphael of Pigs, so great is his success with that unideal race. He even gives to them, as to his other animals, their special characteristics, in an environment of light and atmosphere, and little airs of mystery, and even suggestions of poetry. He has also written a remarkable book on hens, which in the court and barnyard scenes of his early pictures he was fond of painting. Jacque has an appreciation of the sentiment that requires that the pail at the well, the hoe or rake, incidentally left, should have the associations of use and wear, and feels the greater worth of the old dog whose decrepitude suggests many years of faithfulness. M6nard recounts that upon his purchasing one such model, his won- dering neighbors, thinking he must have a strange love for weak animals, brought them to him in great numbers. It was almost incredible to them that he should desire to exchange a new wheel- barrow for one worn and broken, but most collectors of prints now own that wheelbarrow, rendered in a comer of one of his compositions, with poultry pecking around it. His inns, his farms and poultry yards, his village streets, his skirts of forest, his old walls full of crevices, of stains of damp and crumbling plaster, his bams with cob-

800 ^ HISTORY OF FRENCH PAINTING.

webs hanging from their ceiling, are f nil of the familiar sentiment of life, as also are of poetry his far-away twilight skies, for Jaoque is one of the harvesters of Constable's sowings. Not less does he oatch the distinctiye detail of the movement, action, attitade, and relations of animals.

He has taken six third class medals and one when medals were all of one value ('64 to '71), and has therefore been Hors Oonconrs since that distinction was first established, and for this, as well as for the reason that since 1870 he has not exhibited at the Salons — ^his pictures passing directly from his studio to the purchasers by whose orders his time is crowded — ^he has had no recent medals. He has received the compliment of having the market flooded with forgeries of his work. Among his pictures are many Poulterers. From his first exhibition in 1845 to 1861, they were at the Salons almost entirely etchings and engravings. In 1863 he exhibited the painting. Folding Sheep at Barbison. He is represented in the Luxembourg by a picture of his earlier heavy coloring, A Sheep in the Border of a Wood (1861) ; at the Mus6e d' Angers, by Oxen at a Watering Place ; at the Mus6e de Ghfilons-sur-Sa6ne, by The Watering Place ; and in America by a veiy large number. His etching of 1886, Sheep Passing into the Fold, seems to surpass any that he had previously executed. The management of the light, the delicate rendering of the wool, the grouping, the feeling, all serve to make a picture complete, effective, beautiful.

Excepting Bosa Bonheur, Veyrasset is the painter in France who best understands horses — ^working horses, it should be said, for the , , , ,, ^ elegant, thoroughbred high-stepper never enters (1825- ),Parit. his pictures. Veyrasset s father, a jeweller,

M«d. '66, '69. Engrtving. i]if ormcd him when a youth of twenty-three

add. '72. L. Hon. '78. .1.1 1 i.«  i- • -l ij ^

that he must earn his living as he could, for his own business had been ruined in the Be volution of 1848. He had previously thrown all possible discouragements in the way of his son's becoming an artist, a tendency to that profession having been developed where the son had been placed to fit himself for a trade, viz., at the Drawing School in the Bue de Tl^oole de Medicine, a school that has awakened the artistic powers of many artists now of high rank. Decamps also had urged the father to test the genu- ineness of his son's vocation for art by its power to surmount obsta- cles. In the real difSculties that he now encountered, Veyrasset began to copy the pictures of the Louvre and practised etching, of the entire range of which he became a thorough master. After

THE NINETEENTH CENTURY. 801

some instruction) chiefly from Heinrich Lehmann, he appeared in the Salon of 1853 with a strong portrait of his brother, and A Farm Gart, the foremnner of what he at last settled into reproducing — the scenes to which his affections had been drawn by his life on his father's farm at Oravelle, viz., its Farm Yards and Hay Oarts, drawn in fields of far-away horizons by strong, working animals. The Watering Place, of the Salon of 1875, is a simple scene, but full of true feeling for artistic effect. A Belay of Horses for Tow Boats and The Fair of St. Catharine at Fontainebleau appeared in 1878, and won him a decoration. Early in his struggle, as soon as his income permitted, he took a modest room in £couen and there became the friend and a student of the methods and style of £douard Frdre. He now lives at one of those villages that, surrounding Fontainebleau, form the chosen homes of artists, Samois on the Seine, where he is enabled to study the horses of the boats and barges, which he reproduces with the charm bom of affectionate rendering. Some of his works show- ing his range of subjects are  :

1851, Drinkmg Cider ; Harvesters  : 1857, The H&nresters' Luncheon  ; Cart of Wheat : 1879, Information ; Market Dues : 1880, Rest of the Harvesters ; The Hone Ferry ; La Petite Coltore  : 1881, Old Horse at the Gate of the Blacksmith  ; Chanticleer : 1882, The First Grain  : 1888, Two Scenes in Algeria: 1884, The Horse Ferty ; The Relays : 1885, Arab Cavaliers at a Fountain; Breton and Nonnan Jockeys: 1886, Vintage ; River in a Village  : 1887, Tow Horses ; Blacksmith at the Market. He has exhibited in all the Salons except that of '88 from 18(M) to 1887 inclusive, one hundred and nine plctnres, besides three series of pictures. Four- teen of these were etchings ; two after his friend, £douard Frdre's, A Cooper, and Prayer of the Little Breton : five aquarelles, four pastels, and two drawings. Six are scenes of Harvesters; ten of Field Peasants, Shepherds, and Gleaners  ; six of Tow Horses, in the Morning, in the Evening, on tiie Seine, on the Mame, in Relays, or Crosring the Ferry Boats ; five Ferry Boat Scenes ; four of Horses Watering (1868, '66, '68, '69) at Sunset, at Sunrise  ; five Smithies ; five Farm Carts, ranging from his early Manure Cart of 1868 to that of the full harvest filled with golden grain of 1878 ; and three were portraits, one in 1858 of his brother.

Troyon's fellow-townsman and pupil^ Van Marcke, has attained high rank in the line of his master's successes. He is^ indeed, a . .. „ ,, ^ master of brush-work and yiracious effect.

Emii«  Vtn Mtrcka . . r«  • • i •

(1827- ). s«vrM. but does not often attam Troyons feeling

M«<i. '67. '69. '70; lit ci.'ts, e.u. and poetry. He groups and models with ex-

oellence, usually making marked contrast of color, as a white cow against a black one. His pictures, forty-three in all up to 1882, have been conspicuous in erery annual Salon since

802 A HISTORY OF FRENCH FAINTING.

he made his d£but in 1867. They form a series of varied pasture scenes and milking times. Some of his works are :

Water Trenohee ; and Scene of the Imperial Fann, 1875 : The Chariot ; and Village Fair, 1861 : Pastores by the Sea ; Pastiins in the Woods, 1808: Yillage Pastures, 1876.

His daughter^ Mile. Marie Van Marcke, exhibited in the Salons of 1874 and 1876  ; in the last, A Grassy Gomer.

Schenck's admirers feel that Millet has no more certain touch for the peasant's sad sincerity, Odrdme is no surer of his archso-

Augu.t.Fr«i4rlcAlb.rtSch.nclc ^^^S'^ ^^^'^ ^^ <>' "««  CharactcristicS,

(1828- ). Giuckttadt. Mcissonier of subtle expressioUy nor Detaille

M.d.'6s: M«d. 3<i ci. '76. ^^ De NcuTille of French patriotism than

he of the emotions of his woolly friends. They are truly his friendsy for he owns his models, a flock of sheep kept in the fields of his home at i^couen. He represents chiefly their timidity, their terror, their shelter-seeking, sometimes making them almost human in sentiment — he is, indeed, the J^ouard Frdre of the flocks. He was a pupil of L6on Gogniet His Last Hour represents sheep in the butcher's shambles, in which their terror at the red floor and smell of blood, their despair, for with their susceptible instincts they hare a foreboding of their doom, make the scene really a tragedy. Dramatic power contrasted with ovine simplicity characterizes his tender subjects. This is again illustrated by Anguish (1878) in which a wounded lamb is rapidly bleeding to death  ; the rayens' keen sense of prey has perceived this and led them, in evil boding, to hover about The mother, cognisant of all, is agonized and in despair, but in vain, bleats for the shepherd. One of his scenes, though ludi- crous, is stiU pathetic  : sheep, seeing no other accessible shelter, are flocking around, under, almost upon, a donkey standing docilely near, and not rejecting the trust reposed in him (Metropolitan Museum, New York).

Among other painters of landscape with animals are  :

Gamille Paris, whose Bulls in the Roman Gampagna is a picture of distinctioii. — ^Alf red Auteroche (1881- ), Paris : pupil of Brasoassat and Cogniet. — L6on Baril- lot (oontemporary), Montigny-lez-Mets : medal 8d olaas '80 ; 2d class '84  ; pupil of Cathelineaux and Bonnat — Auguste S^bastien B6nard (1810- ), Paris : pupil of Granger and Lafond, is a painter of horses in stables or as teams. — FeUx ^d^uroin Brissot de Warville (contemporary), Sens : pupil of Gogniet ; medal 2d class '82; paints sheep chiefly. — Louis Coignard (1812--'^), Mayenne : pupil of Picot ; medal 8d class '46 ; 1st class '48 ; first appeared in 1888 with a scene of Mary in the Desert, followed in 1848 by The Disciples at Emmatis, but in 1846 had grayitated

THE NINETEENTH CENTUBT. 808

into hiB true field, that of animals and landscape, by Cows at the Border of a Wood, and in 1852 was made one of ** the living French artists ** of the Lnx- embonig hj his Morning Repose. — Philibert Ij. Couturier (oontemporarj), ChA- lons-sur-Sadne  : medal 8d class '65 ; rappel '61 ; pupil of Pioou ; paints poul- trj.—Jnles Didier (1881- ), Paris  : Pzix de Rome '57  ; medal '66. '60.— Piem Gavami (oontemporarj), Paris: pupil of Fromentin and Bnsson; medal 8d class '74 ; paints steeple chases, riding schools, and game.— Jules Bertrand G41i- bert, (1884- ), Bagndres-en-Bigom : medal '69 ; 2d class '88 ; paints hounds, hunts, and wild animals. — Jean Richard Goubie (1842- ), Paris  : pupil of G4rdme ; medal 8d class '74 ; paints horses, hunts, oows, etc., in a spirited treatment of 8ubJeots.-^Arsdne Ddsir^ lyHausBj (1880- ), Paris : pupil of Laoarges ; has great merit in treating domestic animals. — Charles Hermann Lten (188&- % Havre : pupil of Philippe Rousseau and Fromentin; medal 8d class '78; 2d class '79.— Louis Godefroy Jadin (1805-'82), Paris : pupil of Abel de Pujol and Her- sent ; medal 8d ohiss '84 ; 2d class '40 ; 1st class '48 ; 8d class '55 ; Legion of Honor '54 ; eight of his animated Hunting Scenes adorn the dining-room of the Minister of State.— Louis Engdne Lambert (1825- ), Paris : medal '65, '66, '70 ; medal 8d class '78 Exposition Uniyerselle ; Legion of Honor '74 ; he is properly placed in art as " the Landaeer of Cats;" but he does not ignore the dogs  ; he was a pupil of Delacroix and has exhibited in every Salon from 1852 to 1885 except those of 1858 and 1881 — Joseph MAin (1814- ), Paris : pupil of Delaroohe and David d' Angers; medal 8d class '48, '55; 2d class '45, '58; paints hunts, deer, and dogs. — Alfred imile Mery(1824- ), Paris: pupil of Beauc^  ; medal '68. — Charles Monginot (1825- ), Brienne  : pupil of Couture ; medal '64, '68 ; paints still life also.— Charles Olirier de Penne (1881- ), Paris : pupil of Cogniet; 2d Prix de Rome '57 ; medal 8d class '75; 2d class '88.— Am^d^ £lie Servin (contemporary), Paris : pupil of DrSlling ; medal '67, '69 : 2d dass '72. — Paul Tavemier (oontemponry), Paris : pupil of Caband and Ouillaumet ; medal 8d class '88.— Dominique Felix de Yuillefroy (1841- \ Paris: pupil of HAwrt and Bonnat ; medal '70  ; 2d class '75 ; Legion of Honor '80. A man of culture, he was attracted from the field of politics, for whioh he had been educated, by his love of art and animals.

THB OBIBKTALISTS.

Marilhat beqaeathed to Fromentin in dying a gift he might him- self have enhanced by liying, the charming qualities of his jewelled reprodnctionB of the East. Ten years his junior, Fromentin caught inspiration from his swan song, and echoed its notes for twenty- eight years of this period, which Marilhat, by his eariy death (1844)

Eug<n. Fromentin ^^ preTcnted from entering. This influence,

(i8ao.'7C). La Roch«ii«. most apparent from Fromentin's d6but in Mad 2d CI. *A9; R«PP«i '57. 1847 to 1850, combined with the natural ten-

T^i:r^:Z dencies of both, gave them many traits in com-

Dip. to D«c. Artuu '78. jqqjj . thoBc of idealizing, harmonising, and

synthetizing facts; of seeking elegance of line and softened agreement

304 ^ HISTORY OF FRENCH PAINTING.

rather than contrast of color ; accuracy of eye ; and exactness of study. Both trod a middle course between independence and tradi- tion ; and both rendered landscape in a real but charming reproduc- tion. Fromentin wrote of Marilhat : '^His work is the exquisite and perfect illustration of a journey of which he might have written the text, such is his exactness of eye and vivacity of style and expression." Fromentin's father was a lawyer^ and his grandfather a physician who had charge of a lunatic asylum at La Bochelle. The family owned a country house in the suburbs, at St. Maurice, which became the residence of the son, and shared with his studio in Paris the locality of his artistic labors. At nineteen years of age, the young man went to Paris to study law, and, after receiving his diploma in 1843, was led by a fit of illness to become a painter, to which his father yielded a reluc- tant consent It has been happily said that Fromentin's genius burst at one and the same time from a double chrysalis, that of painting and literature. From this dual natal impulse it maintained what is very unusual, an equal power in two directions, and he became both a fascinating painter and writer ; he was an author of verse in his youth, of poetic prose and painting in his maturity. A delicate spirit of elevated tone, he had two muses. Said Sainte-Beuve  : He paints in two languages, and is an amateur in neither. The two are in per- fect accord ; he passes from one to the other with facility." For the indulgence of the one, he frequented while studying in Paris the soirees of Michelet and Sainte-Beuve ; for instruction in the other he went, in 1843, when his penchant for painting had felt its wings, to B6mond, who had a true affinity with the classicists in land- scape ; but Fromentin, being of the epoch and spirit of Delacroix, a year later had gravitated to the more congenial influence of Oabat. Insufficiency of technical instruction, however, was with him always a weakness — a weakness of which he was cognizant, and against which he struggled. His landscapes are complete and sympathetic, but the greater exactness of design required for figures he never fully mastered, and in some of his works he is accused of narration rather than of presentation ; of making the anecdote more important than the sensation, the emotional significance, in a word, of giving a literary turn to his work. One of the three paintings with which he made his d6but, A Farm Near Bochelle, is entirely of Gabat's manner. In the others, A Mosque Near Algiers, and A View in the Gorges of the Ohifla, is revealed the source of his true inspiration, Marilhat, the ten- dencies of whose influence had been further developed by intoxicating draughts of the air and hues of the enchanted land, for in 1840 Fro-

THE NINETEENTH CENTURY. 305

mentin had been in Blidah, an Algerian town^ to attend the wedding of a friend, an official there. Charmed, he repeated the visit in 1848, pushing on to Oonstantine and Boskra, and in 1852-3 he testified to the delights this land held for him, by going with his bride to an oasis there for their honeymoon. The Salon of 1849 bore evidence of this in five Algerian pictures, which won, in that year of liberal con- sideration for artists of all schools, a second class medal ; and that of 1850, in eleven pictures of his travels to Boskra : the Revue de Paris, of 1858» published the written description, A Summer in the Sahara ; and the Revue dee Deux Mandee, of the same year, his Year of the SaheL In 1857, nine pictures graced the Salon, and won him a '^ rappel.^' In both his ^'languages he painted with a certain ele- gance, to which was added a high finish and harmony of color, a power which is innate in all true Orientalists, and makes their works a luminous page in the French art of the nineteenth century."

There is no better interpreter of Arab life than Fromentin. He has a keen instinct of movement, with a profound sense of infinite freedom and space, and the Arab horse and horsemen spring from his brush in a keen delight of action and, indeed, as man and horse moved by one will, suggest the centaur to the fancy ; a subject painted by him with marked effect in 1868. The flying sweep of the horse through a landscape of charming tone is very characteristic of his work. His horsemen support themselves erect in the stirrups or crouch in their saddles, or turn rapidly to this side or that, and, upon occasion, precipitate themselves with a wonderful fury into space. Some of these often-repeated subjects, in more or less action, are  :

The Algerian Falconer (1868), sold at the Albert Spenoer Sale, New York, 1888; an Arab Falconer (1867), owned by Mr. J. H. Warren, Hoosick Falls, Mass.; Arab Falconer (owned by B. Wall, Providence, B. I.) ; FantaEda (1869), with others^ all of a kindred treatment : Sirocco (1859). Squall on the Plains of Alfa ; Heron Chase (1865), and Falcon Chase (1874), are of a quiet motion, and sui&ciently alike to be pendants to each other— both delightful landscapes, with a far, low horizon. In Arab Chiefs, another masterpiece, the three chiefs skim oyer the ground on their swift horses with a motion of which the continuoosnees is an impressiye featore.

That he could also paint repose well, is seen by his Kabyle Shepherd^ carrying in his arms a lamb too weak to walk. Three of his pictures^ The Courier, Falcon Hunt in Algiers (1863), and the Country of the Oulid Nayls in Springtime (1861), won a place in the Luxembourg, as did also, subsequently, his Arab Encampment, unfinished at his death. As he died more tiian ten years ago, these may at any time be 90 ^

806 A HISTORY OF FRENCH PAINTING.

remoYod to the Louyre. He neyer attained membership of the Institute, but reoeived in 1876 fourteen votes for admission to its Academy of Letters. He published, besides accounts of his travels, '^ Observations made for an Arohaoological Commission, and in 1863 a romance, '^ Dominique," undertaken to refute the accusation that a man could do but one thing well He also wrote ** Les Mattres d'autrefois — HoUande, Belgique, a volume of most discriminating and suggestive criticisuL He was among the most cultivated and ele- vated men of his generation. A quotation from the beginning of his Year of the Sahel will serve a two-fold purpose in giving a glimpse of his pleasing personality, the source of his pleasing qualities of style, both as a writer and a painter, as well as of the St. Maurice home. Of a red bird which he sets at liberty, he writes  :

<* < Enoweflt thou/ said I to it, before restoring it to its destiny, before giving it to the wind wliich bore it away to the sea, to which I confided it, 'knowest thou on a coast where I might have seen thee, a white village in a pale land, where the bitter wormwood grows on the borders of the hay fields? Knowest thou a dwelling, silent and often closed ; an alley of lime trees, where one seldom walks; paths in a sparse wood, where the dead leaves are massed early in the fail, where the birds of thy kind dwell in the autnmn and winter? If thou knowest this land, this house in the fields, which is mine, return there, if it may be only for a day, and bear news of me to those whom I have left there.' "

George Sand, of whom he was a cherished friend and correspond- ent, thus described him  :

" Small and delicately constituted ; his face striking in its expression  ; his ejes magnificent ; his conversation like his paintings and frritings— brilliant and strong, solid, colored, full. One could listen to him all one's life. Happy those who live in the intimacy of this man, exquisite in every respect."

Among the Orientalists is Oharles Theodore Frdre, tldouard Frdre's brother. He was a pupil of Gogniet and Boqueplan. Two chftrut Thiodor. Fr#re ycars after his d6but in 1834 he departed for the (i8is- ). p«Ht. East in the Algerian Expedition, and then, going

M.d. add. '48. M.d. -65. ^ Egypt, bccamc a painter of Eastern scenes

while he still retained a studio at Paria Of these he had up to 1884 exhibited forty-Steven. His Hall of the Arabs of 1850 was bought by the Government, and others of his Oriental pictures are found in the Museums of Laval, Nancy, Stettin, and iu New York.

Ziem, whose pictures are gems of color, is a painter chiefly of marine and architectural views. He first exhibited in 1849, having

' •  :i l.'^Tf- ♦•KfJcfh vot<M ^  »r a<innefiion to r

- • .• •'• A.-  :.. '.»lo^:'( ai Commission," and iii ist).

' ■ . . • .*'  ::*l- -I \\k\\ t«j riifuu tiie accusutioti i.in ' ■•• «• •. ti^ / «■•  ! li«» nlrii) wrote '•'Let- Muitn . • .'  : '•'* n v.»!-.i!no i»f riiost disc^riininatii- -. '. • r? • .>• • ^r.-iJi:** u mosit cultivatoil and*!

.V '; i'^i;:*-c«ii n-jui tlH»  ?-t'g:nnin^' nf i. r\- * ••.>•-'.:*.«  j  :ir|.o<i» if jiviug a gJnn]^^>^" . * . * ... • •■■•  » of l.H jflraiiiig quulitiea of ^r; .» ■ .^ ' i . '  ; . \- A ll iis of Iho bt. Mauri(x* li .r.»

• t • «f '- i< 'i I . ' \. h( wnU'.j  :

• ' •  » . - . ' * r. r ■. '. -iM^! it Tfi j.h «lej*tiny. U'fon stvkjj:

I •» *• • *••♦... -. .- .1 t < \vii: ti I « --mfidwi it, *kn»t'%-"fi 'h'

•  :i * 'I r . . • M . ,. a w.irc v.D'ic:** in a pal** Und. w*

i- "•■ •• - . . J, . • .'• r* ■., . f I-.4. l»iv dfUU? Knowt»»t i.v.'

.*• '.. ' - "I ••. • "f 'I'-n llrtS, WlU'Tf one M;ldolU W(» '

••...■ ■ .".r. iLu^-j.i -arly in the fall, whp^' •' ■ - ■' .' ■ ir..»^ ./•'.' If thou kL-»w«'.st this l&.i<l. '

- •  ; ■.- "■.*'. n  !> -f. 't i* Hay bo only for a day, i.>

ai/.6>i';nj .vr.i

"• ' ' "  ;,*,; ,/* / f'lr.^i'it^yr^ f .'"♦^nd and corretpi)!.

ii

> « 

• t.  !„ . ■ *

i 1 •--. i I «1 *'.' ..s— brilliftutand***

I.  !•' • '. ' ' . . ..-• ' • -.I.' J.. tMt- ^ lii«', Wapjt\ ihoew wt-

.\. • ' I "..

<..«■/.

' • i

!•, '•' . & p  ;.' • ^'vjrji'-t aii.l Ri'Miioplaii.

t .■■•' • .:» \.:'ii  !^ .^' ".u-jn, iittd ihoTi. g

' ' '^ 1(1 I . • •••If u j».-i'^r cf K.istvrn 8<h*'

\ '.  ;• ♦.  »i'."-l «.' ♦'.-. •  ;-t i'.if'^. or th'.'i- hi- nad up to 1

• . 'r^-'.n.Ti f<- '. • ' V ."  :•■ At.mKs ■»:' .. ") was U>upl'."

■ • . , .i-i" • f ' •• iu- '/!••  :ii:i.l ^i.:.ir4 an- fonnd ii

'• i.  ;■ .\ >.. •■' ; . '■•••Mia. "i' d ill NfW ^ <  :k

'..» n- [.\*u "! .15' V ". ' <■' I' •' ir, i^ a p.'iiijter ohiotiv

\ ■ . .v.. «  ;•., :»! . -A-,  ; v.- 1^--/.  »-xiii'»:'t'd in 1S49, Iu.-

THE NINETEENTH CENTURY. 807

been educated in the art school of Dijon. He haa painted scencB of

Constantinople and the Hague, but his favorite snb- (i8a* TBoont. J®®^ ^^ Vcnicc, whcrc he had one of his fonr studios, M«d. 3d el. issi-'ss- and which he has represented in eyery form, delight-

l! Hon^i857 ; Of. 1878. ^"8 ^^ ^^® reflcctions caught in its liquid streets.

Of these he paints the faintest rippling, and places with skiU the architectural structures at their sides. This combina- tion, in affording relief from the j9rm and constant lines of severe drawing, seems especially adapted to his talent. Ziem 'Ms obliged to hide his insufficient design under an agreeable yapor," says About Indeed, his indefinite Venices are like memories, or dreams. His obseryation is not searching nor his sentiment moving, but his impres- sions of nature are rendered in a manner not wanting in some of the better qualities of art, and he has a constant charm. How thoroughly Venice has captured his brush is illustrated by the large number of Venetian pictures among his works in America. His delightful effects are emphasized by his inimitable and far-away skies, the real, yiyidly blue Venetian sky with a white sail or, at times, the dull red one of some Eastern barque thrown against it, and all duplicated in the reflecting water. As seen in some of his smaller pictures, they make, indeed, jewels of color occasionally verging on the excessive. He was a friend of Bousseau and had a studio at Barbison, and he has one also at Paris.

Belly is an Orientalist and also has reputation as a portrait painter. He early had instruction from Troyon, but takes rank among the first of Rousseau's pupils as a landscape-painter, and in color and

action is inferior only to Delacroix. His work 0te8.i8j^)?st^o'm.'r* ^^"^ possesscs solidity, truth, and expressive model- M«d. 3d Gi. '57. '67. ling. Working with sincerity, refieotion, and a

M*d.' %%^^HoT^M^. tJioro^gb culture, his works have an elegance to

which his true touch gives exactness, and his fresh coloring, charm. Of his works, some of which are The Nile (1857) ; Fellahs Tracking a Dahabieh (1864) ; Sirens (1867) ; the one of 1861, Pilgrims Going to Mecca (Luxembourg) is, if not his chef d^muvre, certainly a masterpiece.

" In a defile of men and camels, tbe end of which is lost in the horizon, Copts, Fellahs, Nubians, Turks, Bedonins, Abyssinians, inhabitants of upper and lower Egypt, all have the characteristics of their race emphaticaU j marked in face and costume. The heat of the tropics is vividly depicted, the vertical rays of the sun being shown bj the short and meagre shadows projected by them, and the sun- light itself is arid. An immensity of silence and solitude is also forcibly conveyed,

808 ^ HISTORY OF FRENCH PAINTING.

•B the oantTan gnyelj f oUovrs the path made in the pathlees desert hj the whitened bones of the animals of caraTans that have passed in previons years. " (Merson.) The artist ingenionslj deepens the perspective and varies the line, by the head of one of the camels in the middle distance, which, entirely unconscious of the double artistic purpose it thus serves in giving the eye a measuring mark, stretches its long neck out to snip a toft of grass, an act too natural to give a suspicion of artifice, and thus very skilful invention.

The artistic qualities of G6r6me have been the subject of much discosBion. His rare endowments are a stady of great interest He

ifl an Orientalist of so *^ intime a treat- (isai- **)"vwouL* ment that that alone would suffice to ren-

M«d. 3d ci. 1847; ad ci. '48, *55. der him eminent : he has executed great

pj °ecou d.t B.-Arf -63. historic workfl, that singly might make his

M«m. intt. 1865; Off. L. Hon. 1867. fame uniTersal : he is so learned a painter

^8^4 andlis^r'u.^' ^'"* ®* *^® autiquc that a close study of this

Com. L. Hon. 1878. department of his work produces a sense of

Hon. Mom. Roy. Acad. London. amazod wouder iu Ticw of tho Underlying

Mod. Sculp, ad cl. 1878, ittct. '81. . 1- ^ , . . •« 

knowledge necessary to afford his sigmfi- cant touch of motifs, by which he introduces us into family circlea and enables ub to chat of every-day affairs with the heroes of one and another period  : he has applied to incident the classic treatment, and originated a new style, the refined and graceful neo-grec : he has, eyen at the time when he was one of the closest of nature's students, made harmony of line bo prominent a part of his work, that in the difficulty of assigning him to any one class of painting it has been suggested by Strahan that he be termed *^ a sculptor of canYsa : " he has attacked and conquered some of the most difficult problems of art execution ; such as uniting the most finished treatment with great rapidity of moTcment (as in The Bunners of the Pasha, '^the catching of a motion ** as it were by instantaneous photography) ; the greatest suc- cess of fore-shortening (as in the fiat level of Gsasar's dead body and that in the Execution of Marshal Ney) ; and difficulties of design are fiung broadcast in his works.

So much is learning, and learning of an extended and varied nature, made conspicuous in his pictures, that one at times loses sight of the artist in the savant. It has been repeated of him that '^ he is not a painter, but un homme cPesprit who paints, but the pictorial qualities in which he presents his learning leave him still an artist of high merit There is apparent, however, a self-control and self- direction that exclude all suggestion of the artisfs abandon, the transport of soul under the divine afflatus. Bather than working

THE NJNETEENTE CENTURY. 809

with an impassioned oonception, mind informs and controls his touch ; hnt it tells a st'Ory precise in precions detail^ rich in lore^ and comprehensiTe in suggestion. Thus, while Fromentin's East has been called an *^ idyl and Delacroix's an '^ epic/' Gfirdme's has been denominated an official report." And it is a report so accurate in significant details that one is surprised by its reyelations^ by which without argument^ but with unrelenting certainty, the illusory and imagined charm of the Orient is pierced and dissipated. But it is by presentation of some pictorial instant of time, in a language addressed to the eye, not by any relation in a literary way. 06rdme is a nomad, both as to space and time, wandering for his subjects through all epochs and all lands. But haying selected his point, he presents it with great concentration of a pictorially dramatic power. But per- haps all his pictures may rather be relegated to the ideal country and epochs of the man of thought Being an advocate of close focus, his works are of minutest finish  ; they make good a claim to most skil- ful technique, except when, as at times, his brush work ends in finish^ and his picture is dry, losing all the soft coloring of fiesh, a con- dition first appearing in his Almeh of 1864.

As the son of a prosperous goldsmith, G6r6me never suffered pov- erty, nor were his artistic pursuits opposed. On the contrary, his father brought to him from Paris colors, brushes, and one of Decamps's pictures for a copy ; he received lessons at Vesoul, departed for Paris with a letter from a friend of Delaroche to that artist, and was allowed by his family while pursuing his studies one hundred francs a month. His art met besides with an early and emphatic recognition. At seven- teen, having received a regular college education, including Latin and Oreek, but nothing of the modem languages, he entered the studio of Delaroche, for whom he always cherished an affectionate loyalty, seeing a value in his teachings which MOlet never found there, and went with him to Italy when Delaroche closed his studio in 1844. As through grief at the death of his wife in 1845 it was never re- opened, 06r6me after his return passed with Hamon and others of his fellow-pupils, to the instruction of Oleyre. He also, at the earnest desire of his &mily, having recovered in the fine climate and open air life of Italy from a violent irritation of the nerves, entered the £cole des Beaux-Arts to compete for the Prix de Rome. He failed in this, but the failure prompted him to thorough study of the life-sized nude, and he produced a picture of which he said to Delaroche, ^' I paint as I see, but perhaps I do not see aright, for the result is thin and flat." "You are right," said his master, *'but you will do better.

810 ^ HISTORY OF FRENCH PAINTING,

However, send this to the Salon." This, his first exhibition (1847)^ won the award of i. medal, which set upon his d^bnt the seal of official recognition. It was A Cock Fight, which he thus timidly presented under the urgings of Delaroohe, and which, though it had to compete with the Boman Decadence of Couture and The Ship- wreck of Delacroix in the same Salon, surprised the artist himself by winning besides the medal, a place in the Luxembourg. ' It was hung aboTe the line, but, in its obscurity, had the universally acknowledged sceptre of Gautier's pen extended in favor towards it. That critic wrote :

"This year must be marked by a white stone, for a new painter is bom to us, ▼ho is named G4rtoe. To-day I present him to yon: to-morrow he will be celebrated."

It also made him the head of a school of painting, the neo-greo. The unimportant incident of this picture, thus immortalized, was placed in the shade of the Acropolis, and treated with that variant of the Oreek elevation of style which may be truly called the new-Oreek.

A youth of beantifnl form in an irresponsible, nnrefleoting manner is t.hrn«feiwg the cockB together as a passing incident of youth's insouciance  ; a goileLess maiden of eyen greater beauty sits nonchalantly by on the ground looking on. The supreme expression of the picture is that of young, impolsive Ufe. But it is full of Greek lines of beauty and modellings of form.

O^rdme, feeling that this surprising success was owing to sim- plicity and sincerity, that of ** an honest young man, who, know- ing nothing, could think of nothing better than riveting himself to nature and being carried by her step by step, he said, now found that his brush inclined towards the classic, then swung slightly towards the allied charm of the religious subjects which had long glorified Italy, but remained constant in neither direction definitely. He exhibited in 1848 the Scriptural subjects, The Virgin and Ohild, and St. John, and, in continuation of his neo-greo style, Anacreon, Bacchus and Cupid, which won him further reputation. This was his first treatment of Anacreon, which is still a favorite subject with him. In 1850 he exhibited A Grecian Interior — Gynecsdum, an audacious presentation that was severely condemned both in public and private. But that he was the successful competitor that year for the commission proposed by Ledru-BoUin for the ideal figure of La B^publique (p. 263), a fact which long remained a mystery, was

> Personal notes by G^rdme himself for a friend.

THE NINETEENTH CENTURY. 311

revealed in 1880 when that picture by G£r6me was found in the place to which it had been withdrawn from obeeryation by Louis Napoleon after the Oonp d' fitat. It was then given conspicuous position over the desk of the Treasurer of the Municipal Council. He continued to exhibit in every Salon, and soon journeyed to Bussia, painted his Bussian Musicians, then to Turkey and the Danube (1854), and after- wards travelled in Egypt. His talent now settled into polar direc- tion ; it was responding to its true magnet and theme. He returned with his memory equipped to render him abounding service. On embarking with two comrades for this land of his predileetions, he wrote *^ Happy epoch of youth (he was thirty), of light-heartedness, of hope.'* He returned to be twice decorated, in about a decade, as Chevalier and Officer of the Legion of Honor.

In 1855 he produced for the Universal Bzposition The Age of Augustus, to which he had given two years of thought and work. It is an enthronement of that monarch, with the marked men of all the nationalities that gathered at Bome pressing up before him. It thus early showed his power in ethnography, in which it has been said that '^ he gives a lesson whenever he paints a picture/' The differences of race are emphatically marked by gesture, tndt, and costume, and it won for him a decoration. After this, with the exception of five historical pictures, and among them his greatest works, he chiefly painted pictures for which a simple incident or spectacle affords sufficient artistic motifs especially in the attraction of Eastern scenes for the artist. In The Slave Sale, a slight young woman shrinks with a patient tolerance from the hand roughly thrust out to examine her teeth.' Some of his Eastern hounds are excellent works of animal painting. Hamerton says  : '^ I would rather have a leash of hounds by G6r6me than by any other painter I know."

In The Door of the Mosque the heads of some thirty beys, bloody in aspect, grim in death, of detailed treatment of feature and expression, form a pile that is watched by a guard without surprise or horror. Indeed, the indifference of familiar custom is well con- ceived by the artist The Turkish Butcher's Boy has in it a clot of blood which the artist has reproduced as if it were a jewel." Many critics feel that some expression of the revolting impression made by these heads would, but for the coldness of the artist himself, have crept into this picture. But, besides being subordinately a

1 f < The most reyoltlng thing in modem art \& the cool indifference of thlB aet," Bays Hamerton.

812 A HISTORY OF FRENCH PAmTINe.

correct representation of the national characteristicsy is not the effect sought^ the emotion of horror, which also has its reyerse side, sym- pathy, greatly enhanced by the picture's supplying no comment on itself, which woold, indeed, be wholly snperflnons  ? This reticent flash of an instant of facts, left to tell all there is to say, is peculiarly O^rdme's. This and The Slave Mart, with others of this artisfs works that are severely criticised by sensitiye judges as of a harsh coldness, become, in their full suggestion, of a nature to produce deep feeling, a thrilling sensation of anger and pity for the wrong depicted. This power is inherent in the wide gamut across which the antitheses represented in them sweep — in the contrast to the absence of all feeling of such extreme provocatives to feeling. The effect, when, as with Gdrdme, the scene is given with no strain of fact but by simply the revelations of an instant, is thrilling. It is the significant point of these subjects, the one on which, we may conjec- ture, their selection hinged, and evinces a keen appreciation by the artist of the means of exciting emotion. It is also illustrated most powerfully in that selected moment of the Duel after the Mas- querade (1867), when Death grim and relentless, not as a mask easily thrown off, comes among the masqueraders at their invitation, and the victor, in the character of a chief of the Iroquois, and his second, forgetting that he is Harlequin, turn indifferently away, leaving the pallid victim, with his mask of Pierrot dashed aside, to die in the arms of his second, dressed as the Duke of Guise. The horror here is again doubled by the antithesis. Through and through it, in all the contours, in the attitudes, even in the back of the receding victor, is apparent the significance, which G6r6me's patient study of nature can so well express. In all his works may be traced this clear, direct, epigrammatic presentation. Truly his pic- tures are but '^ reports of scenes, acts, incidents ; but in his hands they completely escape becoming a purely literary art. He simplifies them into the presentation of the essential and significant verities, and unconcernedly leaves them to impress as they may. But well may he be confident of the effect, for, with his penetrating feeling, which is a something too susceptibly perceptive to be denominated mere ocular vision, and his wide sweep of the gamut of significant expression, he always touches the exact keys.

With all his clear and penetrating insight into the most '^ in time" qualities of race and individual, however, there is a noteworthy defect in G6r6me's " report " of life — a noteworthy failure, in a work otherwise remarkably comprehensive, — to depict any but wholly

THE NINETEENTH CENTURY. 313

nnideal types of womanhood. Perhaps this proceeds from his satura- tion with the spirit of the Orient. He had, it is true, in 1848, headed a delegation to petition for the abolition of marriage  ; but he was then only twenty-four and belonging to the '^ Ch&let," the occu- pants of which Oautier in playful figures describes at this time as "living like Sybarites, painting from palettes of ivory, crowning their heads with roses," and this was probably but one of the many extravagances of the group. It is nevertheless curious that he should deal with women only in their soulless rdles, not even in that of the gentle Undine possessing the potentiality of a soul, never as the preservers of gentle domestic ties, the queens of the home, the impersonation of truly and loftily poetic love. He sees no divinity in them. His most elevated types of women are his Phryne and Cleo- patra, though he attempted the Madonna once in his early art.* In his Phryne Before the Areopagus, that Athenian courtesan, of such beauty that Apelles's Venus Anadyomene and Praxiteles's Gnidian Venus were representations of her, and of such wealth that she offered to rebuild the walls of Thebes after their destruction by Alexander, and who had been accused of impiety and brought before the Are- opagus for judgment, is represented just as her defender, one Hyper- ides, puts into action the idea of saving her by revealing her wonder- ful beauty. The universal sway of beauty asserts itself and she is acquitted by the judges. A similar scene is his Cleopatra before Caesar ' (Mr. D. 0. Mills's Gallery, New York). Another is a type of woman of less elevation of feeling and of less development of intelligence, a representation of one of the customs of the religion which frankly assigns no souls to women, the Dance of the Almeh, a woman dancing in an inn of Cairo.' The Eastern slave mart furnishes various others. The Christian Martyrs, The Death of Caesar, The Thumb Beversed, and its true companion piece The Oladiators Saluting Vitellius (Ave OsBsar, morituri te salutant,") * form the four great master-pieces of composition, invention, and erudition of all G6r6me's works. They deserve a detailed account.*

^ For other UloBtratlonB see Vestals in the Polllce Verso.

• This won poetic aUasion from Browning in his " Fiflne," of which the words,

" one thievish glance " most tmly characterize the picture.

• Almeh Is often need as meaning merely the Turkish woman ; but it is more cor-

rectly limited to the signification of a singing woman of Turkey.

^ " Hall Caesar, those about to die salut«  thee."

• In this description and that of the Death of Cesar, much has been suggested by

Edward Strahan's descriptions (Art Treasures in America), which are of great value in the thorough and keen interpretation and valuable Information they afford.

314 ^ HISTORY OF FRENCH PAINTING.

The aadness of thiB nlnte in its implied raigiiatioii ** to being batcheied to make a Boman holiday " echoed down the ages oontiaate forciblj with the modern attainments in the dii«otion of justioe to all, and is another instanoe of G^rdme's touching the points of comptehensiTe signifioanoe. This is also apparent in the PoUice Verso, or Gladiators, in which the bnrlj Gaol, who has thrown under his feet the lighter net-thrower (Betiarius) of the arena, turns to ask of the emperor and the spectators if he shall show mercy or day. Brery motif oi the oomposi- tion, eyery factor of the entire picture, suoh as the imperious gesture of the burly Tictor, the nerrous, despairing clutch of the outstretched hand of the Tictim appeal- ing for mercy to the emperor and yestal virgins, lias intense dramatic signiflcanoe and force. That to a Boman audience it was no more than a spectacle of the theatre, and not a scene of life and death to a fellow being, the artist has well expressed by all the indications of the temper of the spectators. This finds its fullest expression in the stolid indiifereooe with which Domitian, putting a fig to his mouth, glances from the gay courtesan at his side to the vestal Tirgins, and they with emphatic gesture, though the victim is even then subdued and earnestly stretching forth Ids arm in appeal, demand the slaying of the weaker. This clamor for blood from those, not only of woman's tenderer nature, but whose vestal education has constituted them the nuns of that period, and nuns holding official relations to the community, as the representatives and embodiment of its purity, is one of those comprehensive sweeps of the gamut of contrast with which Gt&dme so often thrills us.' All with poeitlveness, one of hard Boman features, fiercely, and in a brawling manner, demand death to the conquered. Boman blood was coursing in their veins  ; they, though Vestals, had an inheritance of the Boman nature, and thus illustrate that in its highest civilisation Bome made the death of human beings the climax of an artistic system of pleasure.

The Ohristian Martyrs (1863-^83) is another page of the history of the same people and time. The artist in a letter to its purchaser and present owner, Mr. W. T. Walters, of Baltimore, wrote  :

' ' I had a difficult task, being determined not to leave it until I aooompUshed all of which I was capable. Tins picture has been on my easel for over twenty years  ; I have repainted it from the beginning three times ; have rehandled and rechanged both the effect and the composition, always, however, preserving my first idea."

The scene is in the Circus liaximus, and the moment that when the previously starved lions bound into the arena and the leading one " halts in the middle of the stride," astonished at the sight of the crowd and the bright light contrasting with die dark den just left. A group of martyrs kneel, their only care that they shall be faithful to the last. But as sdded horror, authority for which the artist takes from Tacitus, who says, " These Christians shoidd certainly be put to death ; but wherefore smear them with pitch and bum them like torches  ?" the whole arena is lighted up by these human ** torches," burning with the voluminous flames that pitch affords.

> Seats were reserved at the circus and theatre in Rome for the vestal virgins at representative of Vesta.

THE NINETEENTH CENTURY. 815

Brery artist almost had painted a Dante — what moment of the poet's life should G£r6me take? What but the one that instan- taneously comprehends the history of his subject's every day life and his great poem also, a moment when in the streets of his native Florence, the passers-by avoid him and point him out — two lovers, to each other, a mother, to her child^as the man who had been in hell. In this isolation of the great poet the artist comprehends both cause and effect. Is there not here, too, an impressive anti- thesis?

The Death of Gssar (1867)' is perhaps 06rdme's grandest as it is certainly his severest work. The adequate and impressive conception of the subject, the learned presentation of it, and the skill of technique in depiddug it, unite to form its completeness. He gives it in two pic- tures ; in one (1859) the body lies alone, in the other, more dramatic, the senators, one alone retaining his seat, are hurrying away, as by an irresistible impulsion. But the nearly empty senate chamber is full of historic suggestion as it is also of artistic success. In pictorial effect it is as admirable, as in historical accessories it is accurate. These are chiefly the accumulations of Osesar's victories, who never- theless lies dead at the foot of Pompey's statue, with Brutus his murderer.

Pendent from the walls are the prows of vessels conquered by this CsBsar siain^ and from the oclumns hang the lanoes of the Britons, Uie wolf skins of the Ger- man warriors, and the round shields of the GKiuls. The overturned curile chair designates the place of authority he occupied, the clerk's seat opposite hastily deserted is flUed with offloial papers in disarray; the smoke of incense isstiU rising in front of ttie statue of Boma Minerva, and the statue of his rival, Pompey, is stained with Ids blood. This by the shadow into which it is thrown, is artist- ically made to hold a sinister relation to the scene. Brutus, Cassius, Casca, the three conspirators, following the large, majestic forms of the Roman senators, define, by staying to renew their oath to each other, themselves and their relation, and, while thus forming a separate group of diflering feelings, are, by a consummate artistic skill, swept into the same wave of impulse, the hurry from the scene of murder, that gives comprehensive unity to the composition. This is also effected by the central point where Caesar lies being indicated by the curving lines of the seats, as it is also by every fleeing form, for each by its dread' hurry extends back- ward a weird and impressive though unconscious pointing out of the object fled from. Nor does this detract from the sense of abandonment of the body, that lies alone with the observer without even a backward glance towards it to connect it with the living. This effect is enhanced by the clear space between those press- ing out and the uncared-for body. The body is a marvel of fore-shortening and

> Originally bought by Mr. John Taylor Johnston. Sold at his Sale, 1876, for |8,00a

816 A EI8T0BT OF FRENCH PAINTING,

perfect flatneeB of position, which was attained by thorough stud j in a life size drawing, now in the Corcoran Ghdleiy.

The Oonrtiers of the age of Louis XIV. are favorite themes for 06r6me's pencil. In L']^minence Orise' the great staircase of the old Palais Cardinal, later the Palais Boyal, is reproduced by a caref al study. ^* L'!l^minence Grise " was the title giyen by the wits of the age to the barefooted Oapuchin, who while sharing the plans and the power, becom- ing in fact the *^ alter ego '^ ' of the Cardinal Prince, Bichelieu, still retained the humble gr%B yestments of his order, a strong contrast to the red robes of a cardinal. Their exaggerated obeisance as the cour- tiers meet him descending the staircase, quietly reading his breviary, and the insolent stare they bestow upon him when passed, express the timeserving of the age. In the pictures of the Courtiers, by this subservience and disdain and, in the Boman scenes, by the clamor for blood, the interest in the chariot race, the awe of Csesar's death, O^rdme's remarkable use of one dominating emotion to give unity of composition is shown. His Jerusalem, or Darkness Coming on Cal- vary, is a most impressive scene and one of deep sentiment, with the crosses visible only in the three shadows stretching out in almost weird elongation, as if following the executioners from the field* All is epigrammatically expressed in this shadow of the scene. He has recently executed three incidents of Anacreon and Cupid, a frequent subject with him  : Anacreon nursing Cupid wet and dishevelled ; the Ungrateful Cupid piercing with his arrow the heart of Anacreon ; and Anacreon old, discovering in the fire before which he sits the Cupid of his earlier years. They, as also The Kiss of the Morning Sun, are full of poetry.

In the hush of the early dawn, a oarayan lies sleeping in the desert, as the highest peaks of the pyramids and the sphinx are turned to a rosy hne by the first rays, the *' kiss " of the rising son. It is impressiyely saggestive of the proc- esses of nature continuing, and with their full effects of beauty, whether there be observers or not, even while man sleeps regardless of the rare and passing instant

GSrdme has executed some mural paintings  : The Plague at Mar- seilles for the Chapel of St. S^verin at Paris, and others for the refectory of St. Martin-des-Champs. He produced a most suggestive decorative design for a frieze commemorating the London Exhibition. It illustrates his great ethnological power and is in every way a

> This and the Breakfast of Molidre are owned by Mr. Jamee Stebbins of New York.

• He is known to English speaking readers and audiences as the "Brother Joseph '*

of Bulwer's play of Richelieu.

TEE NINETEENTE CENTURY. 317

characteristic expression of the artist. Ooncordia, Abnndaiitia^ and Justitia in the centre receiye the offerings of all nations, represented by characteristic groups — America, by a pioneer agriculturist, clear- ing ground, with a gun on his shoulder and a hatchet in his hand.

The group of gladiators, the burly Gaul astride over the prostrate Betiarius, impressed the artist himself so, that by it his powers as a sculptor were illustrated in the Salon of 1878, as well as by a second subject, Anacreon, Bacchus and Oupid.

06r6me has received the Grand Medal of Honor three times ; one of the four given to French painters (the other three being Bousseau, Gabanel, and Meissonier, eight being given in all) at the Exposition TlDiverselle of 1867 ; one at the Salon of 1874 ; and the third at the Exposition XJniverselle of 1878. He also then received a second class medal in sculpture, and one of the first class in 1881. He never took the Prix de Bome, and was elected to the Institute only after his fifth competition. But at the time of his fourth failure, when Hesse was the successful competitor, his appointment to one of the new profes- sorships in the ]^cole des Beaux- Arts, at the time of Nieuwerkerke's withdrawal of it from the direction of the Institute in 1863, was received with great satisfaction by the conservative party in art. At last, in 1865, he was elected as one of the fourteen who form the Academy of Painting of the Institute, and thus received the highest honor that could be bestowed upon a French artist in France. He has also been made an honorary member of the En- glish Boyal Academy of Ari;, and Knight of the Order of the Bed Eagle.'

Of his personality M. Jules Glaretie writes  :

" If yon see passing upon the boulevard at a gallop a cavalier of nervous man- ner, well seated in his saddle, of a clear eye and gray moustache, followed perchance by dogs • . . salute him  ; it is G^rdme, and if you wish to speak to him stop him qaioUy in passing ; he is Parisian only en eaurani : he will perhaps have departed this evening for the Orient, for Italy, or Egypt. ... He will be at PflBstam or Cairo, always en route, always taken with the new, the ' inSdU  ; ' with travel, with curious customs, with bazaar types, delaying perchance before the rags of some miserable ' santon ' (idiot) crouching before a mosque, after having called forth the Greek antique, with its immortal poesy and its eternal youth."

An idea of 06r6me's works, of his fecundity, and of the great dignity of much that he has done, may be obtained from the follow- ing approximately complete list of his paintings :

1 His relation of son-in-law to the dealer Goupfl has natnrally aided greatly in popu- larising his talent.

318 ^ HISTORY OF FRENCH PAINTING.

Tonng GreekB inciting a Cook Fight (Lazombonig), Salem, 1847: Anacreon, 0aooha8 and Cnpid (Toalonae); Virgin, In&nt Jeans, and St. John; Portrait of M. A. G., Salon, 1848 : Greek Interior; Sonyenir of Italy; Baochns and Copid Inebriated, Salon, 1800: Psatum, 1862: Freixe GommemoratiTe of London Bzhi. faition; Idjl; Stndj of a Dog; Salon, 1863: Age of Auguatos (Amiens); Flock Tender ; Un Piileraro ; Beoreation in Gamp (Bnasian Mnsioians), E. U., 1866: Egyptian Recruits Crofising the Desert ; Prayer at the House of Amaat Chief ; Duel after the Masked Ball (re-ex., 1867); Plam of Thebes (Sphinx in Distance); Memnon and Sesostris ; CSamels at Watering Place, 1867: Pifferaii  ; Aye Oesar, Moriturite Salutant (re-ex. 1867); Amauts Playing (Thess : King Candaules (re-ex. 1867), 1869: Italian Shepherd, 1860: Piuyne before the Areopagus (re-ex. 1867, Mr. D. 0. MUls, New York) ; Socrates Seeking Alcibiades at House of Aspasia (for the Sultan Abdul Aziz) ; Two Augurs cannot look at each other without laughing (for the Yanderdonk Brothers of Brussels) ; Rembrandt Etching (re-ex. 1867); Egyptian Straw Cutter; Portrait of Rachel (in Nouvel Op^a, Paris), 1861: Greek Actors (owned by Mr. Pender, Manchester, Eng.); Louis XIV. and Moli^ (re-ex E. CJ., 1867, Mr. James Stebbins, New York) ; The Prisoner (Nantes Museum, re-ex. K IT., 1867) ; Turkish Butchers at Jerusalem (re-ex. 1867), 1868: The Almeh (re-ex. 1867); Portrait of M. A. T., 1864: Reception of Siamese Ambassadors at Fontainebleau (Versailles Museum) ; Arnauts, or Soldiers of Cairo, Smoking; CaU to Prayer (second variant), 1866 : The Muezzin; deopatra and Cesar (Mr. D. G. BiiOs, New York) ; Head of Rebel Beys at Door of Mosque (re-ex. 1867, owned by Mr. W. H. Stewart, Paris), 1866: Slave Market (purchaser exam- ining teeth of young girl); Clothes Merchants at Cairo ; Death of Caesar ; Amauts Playing Chess (Lord Hertford, London), Salon, 1867: December 7. 1816, nine o'clock in the morning ; Jerusalem (Shadow of Crosses on Calrary) ; General Bona- parte at Cairo, 1868: Merchant Walking to Cairo; Promenade of the Harem, 1869: Peasants of the Danube; The Collaboration ; The Royal Flute-Player (King Ferdi- nand of Prussia); L'iminence Grise (Mr. James Stebbins, New York); Santon (idiot) at Door of Mosque ; Turkish Women Bathing, 1876 : Saint Jerome (for decoration of C9iuioh of St. Jerome) ; Arab with the Head of his Dying Steed in his Lap ; Turkish Bath ; Bashi Bazouks Dancing ; A Lion ; Return from the Chase; Guard of the Camp (three dogs). E. IT., 1878  : Slave Sale at Rome (sold at Mr. Jordan L. Mott's sale, New York, 1888); Night in the Desert; Staff Dance. 1884: Grande Piscine de Broussa, 1886: (Edipus ; First Kiss of the Sun (Mr. George I. Seney, New York) ; Crucifixion (Mr. T. B. Musgrave, New York), 1886 : An Eastern Trumpeter, Ancient Jewish Merchants and Arabs ; Albanians ; Eastern Game of Chess ; Caireme Soldier, or Amaut, Singing  ; The Dispute (Eastern) ; Moorish Bath (nude female) ; Sentinel at the Sultan's Tomb ; Street in Cairo  ; The Grand White Eunuch; Horse Dealer (Mr. James S. Mason) ; Amaut, or Soldier of Cairo; Mademoiselle Lile (portrait of a child) ; Harem in the Kiosk ; Negro Master of the Hounds ; Bispareen Warrior  ; Solomon's Wall, Jerusalem  ; CircassiBn at the Watering Trough  ; Fellah Woman Drawing Water, Portrait of Jean L£on (3^rdme; Souvenir of Cairo  ; Moorish Bath (second Tariant) ; Donkey Boy at Cairo (for M. Goldschmidt, Paris) ; Bashi Bazouk Drinking Water at the Road Side  ; Egyptian Caf^  ; Arabian Warrior Resting ; Medinet el Fayoun ; Amauts at Prayer ; Bashi Bazouk and Dog ; Slave Holding Horses ; Marco Bozzaris  ; Bashi Bazouk Chief ; Arabs Crossing the Desert: The Duel after the Masquerade; Diogenes; On the

THE NINETEENTH CENTURY. 319

Desert ; CbriBtian Martyn' Last Prayer, 18e8-'88, Mr. W. T. Walters, Baltimore : Street Soene in Cairo ; Playing Chess ; Mr. Charles Stewart Smith. New Toi^ : I/ftminenoe Grise ; Molidre Breakfasting with Louis XIV., Mr. James H. Steb- bins, New York  : Woman of Syria, Mr. C. P. Huntington, New Toxic : For Sale (a slave market), Mr. Angnst Belmont : The Banners of the Pacha, Mrs. R. L. Stu- art, New Tork  : Abyssinian Chief; Sheik at Devotion, Miss Wolfe's gift to Metro- politan Museum  : Moorish Bath, Mr. William Astor, New York  : Female Figure, Mr. T. H. Havemeyer, New York  : Chariot Race (from collection of Mrs. A. T. Stewart, New Tork, to Mr. Henry Hilton)  : Polliee Verso ; Circus Mazimus; A Col- laboration, sold from ooUection of Mrs. A. T. Stewart, New Tork : Mosque at St. Bornssia, Mr. Henry Hilton, New Tork : Louis XTV. and the Grand Cond6 (an order, 1878) ; The Sword's Dance at a Pacha's ; A Basbi Basouk, Mrs. W. H. Van. derbilt. New Tork  : Egyptian Conscript, Mrs. Marshall O. Roberts, New Tork : Death of Cnsar, Mr. John Jacob Astor, New Tork  : Turkish Butcher Boy (1865) ; The Almeh, or Dancing Woman, Mr. John Hoey, New Tork : Cleopatra Before Cnsar ; Diogenes. Mr. D. 0. Mills, New Tork  : Dante at Florence, Mr. Morris E. Jessup. New Tork : Muesdn's Call to Prayer, Mr. J. W. Drexel, New Tork : Pif- f^rari in London, Mr. J. C. Bunkle, New Tork : Almehs Playing Checkers, Mrs. T. A. Scott, Philadelphia : An Amaut Soldier, Mr. W. P. Wilstaoh, Philadelphia : Sword Dance in a Caf^, Mr. Charles Crocker, San Francisco: Oriental Woman, Sen- ator L. Stanford, San Francisco : Bashi Baaouk, Mr. J. W. Garrett, Baltimore : Arab Seated, Mrs. Paran Stevens, New Tork : Bull Fighter, Guard of Louis XIV., Mr. T. R. Butler, New Tork : Prayer in the Desert (1865), Mr. Israel Corse, New Toit : Arabs in the Desert, Mr. W. Bockafeller, New Tork : Bashi Baaouk. Mr. Henry F. Cox, Brooklyn : Snake Charmer, sold from collection of Mr. Albert Spen- cer, New Tork, 1888 : Bonaparte and Staff Riding on Camels in Egypt ; Call to Prayer, Mr. R. L. Kennedy, New Tork : Seller of Arms, Cairo, Mr. W. B. Dins- more, New Tork  : Treading out the Grain in Egypt, Mr. A. P. Healy, Brooklyn  : Ambulant Merchants, Cairo (1869), Mr. Gibson, Philadelphia : Sentinel at the Sul- tan's Tomb, sold from Mr. G. I. Seney's collection, 1886: Vase Seller, Cairo ; Tidip Folly (16,600); Coffee House, Cahx> ($4,800), sold 1886, from Mrs. M. J. Morgan's coUection: Circassian girl, Mr. H. V. Newcomb, New Tork.

Eyery Btrand of O^rAme's complex relation to art leads to its special group. One artist, Jean Jules Antoine Lecomte-du-Nouy (Paris, Medal 1866, '69 ; 2d class '72 ; Legion of Honor, 1876), oaught the expression of that master's art in yeritable echo. He has also caught, in his Honey-Moon, in which a happy pair float out from Venice in a gondola, the yery tone of Qleyre's Lost IlluBiona.

But OfirAme's alter ego" is one of his Orientalist followers. These are  : his comrade and fellow student, Gustaye Boulanger ; his pupils, F. A. Bridgman, Bargue, and Aublet ; and those deyeloped later by his influence, among whom Begnault, Clairin, Oormon and Benjamin-Oonstant may be considered.

This " alter ego," Boulanger, is of the closest affinities with G6r6me  ; indeed, faUing only just behind him, he affiliates with him

820 A HISTORY OF FRENCH PAINTING.

in most of his tendencies. Bom the same year^ making his d^bat

Guttave Rudolph ciar- ** **^® ^™® SAon (1847) and thus of the same art- ence Bouiangtr istio stratum, taught at fche same time in the same

pfi!;*d!f R;mT.'i9. «^^^' *^** ^' Delaroche, he breathed the same M«d. 2d ci. 1857. atmosphere of art, and was so oonstitated as to

M^d'  ?d^d* '^!* assimilate from it the same art-aliment. Thns

L. Hon. 1865. his methods—eyen his enthusiasms — ^were the same.

M«m. init. 1882. Both artists have the same severity of drawing,

the same love of detailed execution, and both give a like impor- tance to minor incident. As to G6rAme, so to Boulanger the antique and the East appeal in their remove from common life, the one in its remoteness of time, and the other in its semi-barbarous nature. Together they took in 1872 a tour for sketching along the shores of France and Spain and thence infco Africa. But long before, while spending the winter of 1845 in Algeria to recover his health, Boulan- ger's first love had been won by Africa's splendor, and that impression was never effaced. He had previously had the valuable instruc- tion of JoUivet, a distinguished historical painter, and he remained in that master's house even while a student with Delaroche. Upon his return in 1846 he studied at the il^cole des Beaux-Arts and, more successful than G6r6me, took in 1849, in competition on the subject, Ulysses Recognized by his Kurse, the Prix de Rome. At Bome, where he again went in 1856, he devoted himself, still like 06rAme, to ar- chsBological research and the study of race characteristics. Among his enthusiasms he added to Africa, Italy (especially Pompeii), Greece, and the field through which Delacroix had traced his '^ brilliant fur- row," Turkey. He exhibited in 1847 A Moorish Oaf6, and an Indian Playing with a Panther, and in 1848 Acis and Galatea ; he con- tinued these two classes of subjects, the Eastern and the antique, through his artistic career, during which he exhibited at almost every Salon. In 1869 one of his most important works, the Street of the Tombs at Pompeii, was exhibited  ; in 1874 The Appian Way in the Time of Augustus (sold from Mrs. A. T. Stewart's OoUection, 1887), made demand for aU his wonderfully detailed study and treat- ment of race costumes and customs. He has depicted with great realism this fashionable promenade of old Bome, which gave oppor- tunity for familiar scenes of antiquity, or the antique genre — ^the treat- ment of the neo-greo. There were often theatrical performances riven in the Pompeiian House of Prince Napoleon in the Champs ElysSes and at one of the rehearsals of the Mute-Player, Boulanger copied the scenes, painting in their antique costumes the portraits of

THE NINETEENTH CENTUBT. 821

Th6ophile Oantier,  !]^mile Angier^ and others of the literary charac- ters who took part This pictare was afterwards copied on the wall of the atrinm of the honse, where Boidanger also repeated The Wife of Diomedes. The decorations of this, throughout^ were purely Pom- peiian.

Twenty-two of the forty-one of his works exhibited at the Salons are Eastern scenes ; seyen, historical or mythological ; f our, historical genre, and one, scriptural. Waiting for their Lord and Master (1873). Upon Boulanger's election to the Institute his pupils presented him with a sword with the dates of the two most important epochs of his career, 1849 and 1882, damascened in gold on opposite sides of the handle.

One pupil and deyoted follower of GfirAme died of want. His short life left but few productions, choice and of exquisite finish, too

elaborate to secure for him remuneratiye prices ; and, ( ""iWi^^Pvit. ^^^^^ being refused when in ill health an allowance

by a dealer who had profited greatly by his works, he feU in a fit at the door and was remoyed to a charitable institution^ to die. He was a superior lithographer, took medals in this depart- ment in 1867 or 1868, and had been engaged with 06rAme in '^ A Oourse of Designs for Schools. In his paintings a unity and com- pleteness of effect is enriched with a wondrous detail ; from this arises the rare yalue of his works which, like some of Meissonier's, command literally more than their weight in gold. He neyer exhib- ited at the Salons. Flaying Ohess on the Terrace (Mrs. William H. Vanderbilt) is a gem of finish ; the rich antique costumes, the fine interlacing of the boughs that shade the spot are maryeUous. It waa his last work. Others, The Artist and his Model ; The Almeh  ; and The Algerian Ouard (a water color), take a rank in the esteem of many connoisseurs eyen aboye the Eastern subjects of 06rAme and Fromentin.

By Begnault, who died at twenty-eight, the tendencies good and bad of the art of the second empire, with which he perished, are forcibly ^. . ^ u ID u illustrated. One of his pictures alone,

Ai«xandr«  G«org«t H«nri R«gnault '^ ^

(1843-1871). Paris. Salom6 (1869), may be said to epitomisse

Prix d. Rome 1866. M.d. 1869. ^jj^^j ^^ Hc was thc SOU of Victor Beg- nault, an academician, who was for twenty-fiye years Director at Sdyres, and was there when Hamon was employed in decorating its china with his inimitable grace. Thus unimpeded by poyerty young Begnault's precocity won for him the priyilege of competing for the Prix de Borne when only nineteen years old. The subject was, Veturia 21

822 Ji HISTORY OF FRENCH PAINTING.

at the Feet of Her Son Goriolanns. He did not win the prize^ howeyer, until his third trial, 1866, the Bubject then being, Thetis Oarrying to AchiUes the Armor Forged by Yidcan. After leaving the CoUege of Henry lY. and the Lyc6e Comeille, where he had shown great pre- cocity, improvising sketches and sculptures, studying in the Jardin des Plantes the most difficult attitudes and movements of lions and tigers, and excelling in dogs and horses, he had entered the studio of Lamothe, the pupil and friend of Hippoly te Flandrin, of the school of Ingres. There the young artist learned to scorn what he afterwards was to revel in — color. Troyon, who knew him as a youth at Sdvres, remonstrated with him and sought to counteract the influ- ence of Flandrin, but his suggestions were tolerated rather than adopted. Subsequently Gabanel's instructions formed a transition for him to the bold freedom he finally attained. By nature alive in every fibre to the ^^ modernities of art,* at Bome he rebeUed against the sombreness and ancientness of the art of that city, but not until he had shown his power to be, temporarily, as much of a classicist as any of the pupils of the Villa Medici. While there he made twenty- seven designs for the illustrations of Wey's Bome. There, too, he met Fortuny in 1868, and surrendered himself to the charms of the man and his art, with which his whole nature was in sympathy, as Yibert and those who with him formed the school of aquarellists did also at this time. He wrote of him, '* Fortuny takes my very breath away. " Morocco and Spain in their splendor of color attracted him for most of the four years now assigned for working out the Prix de Bome. He arrived at Madrid just as the revolution of 1868 had made Gen- eral Prim and his associates masters of Spain in their temporary over- throw of the Bourbons, and he received an order for that general's por- trait The picture he painted represents Prim with uncovered head on a large Andalusian horse, as jast arrived at Madrid, with his forces faintly indicated in the background : when finished, the general refused to accept it, saying, *^ It is a dirty feUow with an unwashed face." But in the Salon of 1869 it compeUed admiration as being magnificently rendered." Begnault was greatly charmed with Velasquez, and for the representation of his fourth year's work as a pensioner of the Prix de Bome he copied that master's famoas Lancers, or Spinola

^ He was of so g^reat an earnestness of natnre, that his father said : When Henri looks at the delicate porcelain I fear lest he crack It.^' Violence seemed always im- pending for him as his element. He was once attacked by assassins at Rome, narrowly escaped death by poison, was nearly killed by being thrown from a horse, and finally was shot in battle.

THE NINETEENTH CENTURY. 8:e3

Beoeiving the Keys of Breda. But the place in which the picture should have hung at an exhibition in 1871 of the^^ envois of the pensioners of Borne, was occupied with an easel draped in black and decorated with laurel. Judith and Holofernes, in which the tall, resolute woman stands, scimetar in hand, contemplating with a proud disdain her sleeping and nude victim, had been his picture of 1869  ; in the Salon of 1867 he had been represented by a Decorated Panel, and in that of 1868 by a Portrait and two sketches for portraits. He also painted at Borne in 1867 Automedon and the Horses of Achilles (Boston Maseum), the horseman nude and in so spirited a struggle as he yokes the horses to the chariot (Iliad x. : yi.) that this picture alone wonld convey an ample idea of the forceful nature of the young artist A picture conceiyed in Grenada and executed in Tangiers in 1870 was Execution without Judgment under the Caliphs.

In the foreground on the marble steps of the Coort of the Abenoem^^ in the Alhambra, stands the executioner, absorbed in removing the blood from the bright steel of his yataghan  ; wholly indifferent to his victim whose head is rolling away from its tmnk. From this flows a stream of blood that forms a pool of red upon the white marble of the steps, of which the wonderfully realistic representation, with the other terrible features, has made delicate women looking upon it in the Luxembourg for the first time faint with horror. (It has now been sent to the Louvre.)

As his pictures appeared they met with mingled condemnation and praise— condemnation for breaking away from received standards, praise because so superbly expressing the sentiment of the time. When collected after his death, they commanded great admiration  ; what before had been eccentricity now became originality ; objection- able sentiment and lack of the highest order of motifs were lost in appreciation of dramatic energy and vigor of execution. They were, indeed, in Dumber alone an altogether remarkable collection for five years' work — two hundred and seventy-seven pictures, forty-five of which were in oil.

His Salom6 abundantly illustrates the indisputable power of the modem French school in all that makes up perfection of tech- nique : it shows exquisite management of color by harmonies, con- trasts, and accentuations effected by skilful repetitions, a delicate feeling for tone, great accuracy of design, and a loving treatment of detail.

The background is a wall-hanging of lemon-colored satin, against which, in a clear definition of outline as well as impressive contrast of color, is depicted the raven-hued, heavy, tousled hair, the blackness of which is emphasized by the

324 ^ HISTORY OF FRENCH PAINTINQ.

same odor forming the opposite extremes of the figure in the black eafcin slipperB. These, trodden down, receive only the toes slovenly inserted. Between these two emphatio blacks is the fainter black of the gauze robe ornamented with gold, with an exquisite rendering of its transparency of texture, and all of a power of eye and surety of touch that charms in competition with the management of color. The coloring is further enhanced by the lights of the mother-of-pearl coffer, on which she is seated, by the glittering reflections of a copper charger " in her lap, and by the cruel-looking knife, a yataghan brilliant with chiselling, which lies across it. It is a miracle of sumptuous color. In thought and feeling Salom6 is characterized as of that lower order of the race made up of folly and stolidity, a wild, untamed and untamable woman, whom Begnault himself described as " a sort of dark pan- ther of a caressing ferocity." This is shown by her heavy, animal head, her indolent abandon of manner, and indicated by attitude, slipshod feet» and clothing f^ng from her form, which by a well-managed chance leaves neck and shoulders bare for the painter's delineation.

Aa well as the power of technique and the eye for externals of this school, its acceptance of types of a less ideal range of feeling is here illustrated. This wild gypsy of the Roman CampagnSy being chosen, it most be granted, for her pictorial qualities, and fully delineated, was christened ^^ Salom6," and thus the sentiment of the picture and its illustratiye significance were subordinated to its material features, of which instead it followed the suggestion. The tolerance of, perhaps even a predilection for, scenes of bloodshed and murder is shown in the pleased and careless smile with which she toys with the knife as she awaits the bloody consummation. It is, indeed, an epitome of the art of the Second Empire. Exhibited at the same Salon with the Judith and the Execution without Judgment under the Oaliphs, a full representation was offered by Begnault alone, of these qualities in their culmination reached just before the close of this political period. The public welcomed these pictures with avidity; they had, indeed, many of the most distinguished elements of fine art. The Salom6 sold at once for £560 and resold to Madame de Oassin for £1,600. The Execution under the Oaliphs was plaoed in the Luxembourg.

Begnault was highly and equally gifted with varied powers that often preclude each other. His wonderful sense of color did not preyent a design that reproduced with an accurate, subtle touch all that presented itself to the eye  : there was one lack, that of affinity with the more exalted class of spiritual emotions. He executed works in eyery method of delineation, in oil, water colors, hard and soft crayon, and charcoal, and excelled in all. In portraiture his work was of a high order — color, form, and all that the eye sees being

THE NINETEENTH CENTURY. 326

gracefully reproduced. Among his notable portraits are two of great power^ one of M. Breton, and one of Breton's daughter, to whom the artist was betrothed.

Haying means and youth he had planned to penetrate eyen to India for study in his line of Orientalism. In the mean time he had bought a large tract of land and built a spacious studio in Tangiers, in which to paint the dazzling fdtes of the sun/' with which Morocco charmed him. But all was to end in the confirmation of a proyerb of the nation with which he had become so thoroughly absorbed : ** When the house is builded, then comes Death. The name, Henri Begnault, is in French writing almost the refrain of a funereal plaint, so deep was the uniyersal sadness at the sudden blight- ing by death of the young artist's joyous fulness of life. By the eager patriotism that impelled him to sacrifice his life in the defence of Paris in 1870 eyery heart was touched. At the news of the city's peril he hastened with an artist friend, Olairin, from Tangiers and, although just betrothed to one whom he ardently loyed, and exempt from military duty because of his Prix de Bome, disregarding his friends' urging that he should take a less actiye position, he entered as a phyate the 60th battalion. When offered a commission he re- plied, I cannot allow you to make of a good soldier an inferior ofiScer." After a sortie at Buzenyille, which had ended in an order to retreat, he was last seen June 19, 1871, as he responded, ^' One moment more, just to fire my last cartridge." On the 2oth, after long search by Olairin, his .body was found with a bullet hole in the temple, amid a heap of the dead who had been taken for burial to Pdre la Ohaise. Among other souyenirs found upon his body were a chain with a medallion attached and a silyer tear which had been giyen him by his betrothed in remembrance of a long and tearful anxiety. She had said, *^ Take it now I am happy, but the first time you cause me to shed tears I shall insist upon its return to me." It was now returned. He was buried the day of the capitulation of Paris.

The friend who sayed Begnault's body from an unknown graye classes with him among the painters of African and Spanish scenes,

Q^org- Jul., victor citirin "^^^^^ ^® ^^^^^^ "^^^ Eeguault aud coutiuued (1843- ), Paris. to paiut after Begnault's death. He was a

M.d. 3d ci. -sa ; >d ci. -85. p^pQ ^f Root, PUs, and of the ficole des Beaux- Arts, and is also a painter of history. But it was the originality shown in a portrait of Madame Sarah Bernhardt (Salon 1877) that first gaye him distinction. It is now in her studio. It is a concep-

826 ^ HISTORY OF FRENCH PAINTING.

tion of that remarkable woman that conyeys a wonderfally fall idea of the source of the yersatile powers she has shown in histrionic art, painting, and sculpture. Surrounded by expressive bric-cl-brac, half reclining on a lounge, her long figure loosely wrapped in a lacey d6- 8habi]16, the sole of her heelless slipper falling back from her foot, no effect of her entire personality is lost, while her expressive face turned towards the spectator impresses him with the subordinate, incidental, merely ancillary nature of any surroundings. Dress, fur- niture, articles of taste, all seem to be objects of momentary play, to be cast aside at any instant for the i*eal essentials of intellectual power, the ability to perceive which is fully depicted in her physiog- nomy. A second portrait represents her in her r61e of the American adventuress, Mrs. Clarkson, in Dumas's play, L'l^trang&re. Of Clairin's conspicuous Eastern subjects is Entering the Harem, in which the lord of the seraglio, a proud, cold, bilious man, whose coming is of life and death interest to the fluttering life therein, is ushered by a black chamberlain into the harem. The doorway and accessories are of a detailed Eastern magnificence. Other of his works are :

1866, Inddent of the Consoription of 1818: 1869, Volanteer of Liberty in Spun in 1868: 1874, Maflsacroof theAbencemges; ArabStory-TellerinTangiera: 1885, Moors in Spain after the Victory.

Benjamin-Constant is one of the painters held by the enchantments

of tropical sunshine. To quote his own words, ** Since that day [of

, „ . . ^ , , landing at Tangiers] I have had no

Jean Joseph Benjamm-Conttant ,i i .1,1

(1845. ). Paris. other dream than to be a painter of

Med. 3d ci. -75; "d oi. 'tc  ; 3d oi. '78 E. u. Oriental scenes ; to lead the life pointed

' ' out by Marilhat, Delacroix, and Henri

Begnault. I thought to stay only a month and here I am for two years/' This was after the Franco-Prussian war, during which he had served in the army, and after which he traveUed in Spain, and subsequently joined an embassy to the Sultan of Morocco. His pictures then ran in the level of simple Eastern scenes, the pic- torial qualities of n^ve poetry and gorgeous coloring forming their claims for commendation. Tropical sunshine and tropical heat are impressive elements of his representations, and, indeed, there is a seeming affiliation between the joyous light and color he loves to paint, and his own geniality, which, united with his artistic merit, places him among the Salon forty," though of the youngest. He is the son-in-law of the distinguished Emmanuel Arago. Though

TEE NINETEENTH CENTURY. 327

a Parisiaiiy he had receiyed from the town of his education the means of stady in Paris. He exhibited there in 1870 an aUegorical picture. Too Late, in which a poet dies just as Fame and Fortune

• • come a-knocking " at his door. He has exhibited in eighteen Salons

(all but the one of 1877 from 1869 to 1888) more than thirty pictures. The one of 1880, The Last Eebel, is in the Luxembourg. Two of 1886, Judith and Justinian, the latter evidently suggested by Sardou's play, Theodora, won distinguished notice. By critics of the Salon it was pronounced worthy of the Medal of Honor. He, indeed, receiyed in 1885 but a minority of five yotes for that award.

It is large and startling in color. Its seven figures, Justinian with three Goundllors on either hand, all in jewels and highly colored robes, among which are a white, a violet, a green, and enough of golden hues to form an amalgam of all the other colors and give a rich harmony, are placed on coaches in a room of marble panelling with mosaic border  ; through its tones a ray of light is cleverly made to dart, striking the throne and two of the figiues.

In 1887 he gave its companion piece, Thfiodora, arrayed in an

unparaUed gorgeousness of raiment and jewels, and again the Medal

of Honor was assigned to him in expectation, but another Orientalist,

Gormon, took it. In 1888 he received ninety-six votes against Detaille's

one hundred and eight for the Medal of Honor. He has also painted:

1873, A Riff Pirate's Wife: 1878, A Plaza in Algiers; An Alley in Algiers: 1875, The Women of the Harem: 1876, Mohammed Il.'s Entry into Ck>nstanti- nople, May ^, 1463, his most ambitious work  : and in 1878, his most impressive one. Thirst, or the Prisoners of Morocco. Prisoners fling themselves upon the sand to drink from a puny rill whose hot, steaming waters form a life draught for them; one bottles some, thus indicating a fear of repetition of suffering, while the easy, indolent soldiers on their horses show that a selfish indulgence has secured them on the same journey from the miseries of the thirst of their prisoners. He ex- hibited in 1888 panels for the Sorbonne, Lee Lettres and Les Sciences.

Oormon, a pupil of Fromentin, is among the younger Oriental- ists. He was also a pupil of Oabanel and Portails. A characteristic Fernand Gormon Eastcm subjoct bj him is Sita, in which

(1845- ). Pari-- he represents the laneniid, aimless exist-

Med. '70; add. '73; 3dcl. '78E. U. '^ _ _. . ,^ , ,

Prix du Salon '75. Guce of au odalisque at the moment when

L. Hon. '80 ; Med. Hon. '87. ghe is rousod to cxpectation at the step of

a welcome but unseen presence, and she rises, leaning on a Turkish table, to pour the Turkish coffee. He was the second to win the Prix du Salon after its establishment in 1874, and in the later Salons, '87 and '88, has passed up just above Benjamin-Constant in the number of votes received for the Salon-jury. He also is winning honor as an historical painter, and is the most eminent iUustrator of pre-historio

828 ^ HISTORY OF FRENCH PAINTING.

man as figured by scientific inyestigation. Indeed^ his genius is comprehensiye and yaried, eyen paradoxical in its poweis.

The Death of Bavana (X^tS), which was boaght \j the Minister of the Fine Arts ; The Baising of the Daughter of Jairos (1877) ; Return from a Bear Ghsse (1884); Breakfast of Frieads (1886); The Conquerors at Salamis (1887), are some ol his conspicuous works. His Cain of 1880 (an enormous caayas and most im- pressiye work) is in the Luxembourg.

Other Orientalists, most of whom are 'Hors Ooncours/ are  :

Albert Aublet (contemporary), Paris : medal 8d class '80 ; 2d class Munich 'SB ; followed his master G^rdme in most classes of his work, in his historic genre by seyeral scenes from the history of the House of Guise. — Jean Joseph Bellel (1810- ), Paris : pupU of Cuvri^ ; medal Ist class '48 ; Legion of Honor '60 ; made his d^but in '86 and began his Eastern scenes after a trip to Algiers in '56. — G. F. Bust (1828- ), Marseilles : pupil of Loubon and Troyon ; his Banks of the Bos- phorus ('61) is in the Luxembourg. — Felix Auguste Clement (1826- \ IXnudre  : pupil of DrCUing and Picot ; Prix de Rome '56  ; medal 8d class *61 ; medal '67. — Henri de Chacaton (1818- ), Moulins : pupil of Ingres, Hersent^ and Marilhat ; medal 8d class '88 ; 2d class '4i, '48 ; ceased exhibiting in '57.— Jules Giradet (contemporary), Paris : pupil of Cabanel ; medal 8d class '81. — Eugdne Giraud (1806-'81), Paris : pupil of the old school artists, T. Biohomme and Hersent ; Prix de Rome for engraying '26; medals for painting, 8d class '88; 2d class '86; and therefore then Hors Concours if the present rules had been in force ; Legion of Honor '51 ; Officer '66 ; took up, after '81, and his son and pupil, Victor (1820- '71), after '67, when his Slave Market was placed in the Luxembourg, the path of G6r6me in genre and Oriental scenes ; his younger brother and pupil, CTharles (1819- ), L^on of Honor '47, has followed G6rdme in another path, genre and antique scenes, as A Fifteenth Century Interior ('68), ditto C88). — Gnstave Guil- laumet (1840-'87), Paris: medal. '65, '69; 2d cbiss 72; 8d class '78, Exposition IJniyerselle ; Legion of Honor '78 ; pupU of Picot, Barias, and £cole des Beaux- Arts  ; one of the most realistic of the Orientalists ; has two pictures in the Lux- embourg.— Victor-Pierre Huguet (contemporary), Lude : pupil of Loubon ; medal 8d class '78 ; 2d class '82.— felouard Imer (1820^'81), Avignon : a self-taught painter of accurately detailed landscape, generally of central France, until after '56, when, haying travelled in the East, he took up Oriental scenes ; medal '66 ; 2d class '78.— Charles Landelle (1821- ), Laval : medal 8d class '42 ; 2d class '45 ; 1st class '48 ; 8d class '55* Exposition Qniverselle; Legion of Honor '55 ; pupil of Delaroche and A. Schefler, but has become a professor and accomplished Orien- talist, having exhibited about ninety Eastern scenes. — Jules Joseph Augustin Laurens (1825- ), Carpentras : medal 8d class '57 ; medal '67 ; in '47 sent by the state through Turkey. — Hippolyte Jean Raymond Lazerges (1817- ), Nar- bonne : medal 8d class '48 ; 2d class '48, '57 ; Legion of Honor '67 ; paints re- ligious and allegorical as well as Oriental subjects.— Pierre Fran9ois Lehoux (1828- ), Paris: pupil of H. Vernet and Gros; medal 2d class '88.— T. M. Lenoir (1850-'81), Paris : pupil of Gerdme and Jalabert ; medal 1st class '76. — Louis Maurice Boutet de Monvel (contemporary), Orleans : pupil of Cabanel, Jules Lefebvre, Boulanger, and Carolus-Duran  ; medal 8d class '78; 2d class '80 ;

THE NINETEENTH CENTURY. 329

besides Oriental scenes, he paints figures. — ^Antoine Alphonse Montfort (1802- ), Paris : pupil of H. Vemet, Qros, and £cole des Beaux-Arts ; medal 8d class '87, '68 ; exhibited at the age of seventj-nine The Enrollment of 1888 in Syria.— Charles E. V. De Toumemine (1814r-'78), Toulon  : Legion of Honor '68 for land- scape views of Brittany and Normandy; going to the East in 1864 he became there- after an Orientalist ; he was assistant custodian of the Luxembourg.

THE XTBO-GBBOS.

The definite growth of the neo-grec or Fompeian school arose from the Greek treatment of familiar snbjects introduced by G6r6me. It has been called classicism passing into genre, but was rather genre stepping back to snatch, for a while, a classic garb. With this a group of artists, of whom G6r6me became the leader, soon combined opposition to the claims of Gourbet and his followers, that only the actual, tangible, and visible were proper subjects for reproduction in art. Paint an angel?" Gourbet had said. When did you ever see an angel  ? The original neo-grecs were G6r6me, Toule- mouche, Hamon, Picou, and Jobbi-Duval. They were known as the " Gh&let,^' from working and living in common in a wooden house so called, half concealed in lilacs and climbing roses, on the Bue Fleurus. They constituted a kind of apostleship around G6rAme of artists of most delicate conceits, and formed in art "a sort of little Athens" in which Th6ophile Gautier fondly made himself at home. It was a realm, the air of which would not perhaps be sustaining or even perceptible to the respiratory organs of Gourbet. Their practice was the opposite of his ; it was to put the common, trivial incident into a graceful rendering, often with a charming poetic sentiment, and by harmonizing contours and evolying grace of line to give to the nude the classic treatment. They had a predilection for the nude. Their treatment differs from the academic classic, in taking the common incident, the familiar and the emotional side of Greek or Boman life, in fact, in painting the genre of the antique, or, a more pleasing if less substantial department of their practice, the genre of fancy ; as in the works of Hamon and Aubert. They also treated subjects of mod- em life, but it was by poetizing them into the classic, rather than by aggrandizing them into it, as had been the practice of the Dayidians. The influence of this school is in some degree perceptible in most of the later French artists.

In delicacy of conceit and charm of execution, the chief of the group was the low-statured, russet-haired, half-sailor son of a coast guardsman of Brittany, Hamon, whose volatile fancies must have found

330 A HISTORY OF FRENCH PAINTING.

their early affinities in the spray of the sea, for his youth was spent on the sterile beach in one of those stone cubes appropriated to the Jean Louis Hamon coast-gnard's usc for housos. By the Christian Broth- (i8ai-'74). Piouha. ^rs, with whom he received all the education of which ad*ci.\.*'u, 'M. ^® ^*^ susceptible, he was designed for the church, L.. H. '55. but he fled from the convent. Portraits painted

in his native town, on canvases constructed by himself, won for him. at the age of nineteen from the Ooancil General of Si Priac, the chief town of the Department, a pension of five hundred francs for the study of art. Mad with joy," to quote his notes,' he hastened to Paris. There his artistic impulses led him to seek at once the living French artists^' at the Luxembourg, and the naivete of the country lad was bewildered and disappointed to find only pictures there. He secured a place in the studio of Delaroche, the great aim of students then. There, one day, he replied that, being poor, he had at times, before his father was a coast-guard, assisted him at shoe- making, and Delaroche disdainfully bade him "go home and make shoes, for he could never painf Greatly disheartened the youth^ as deeply enamored of art as ever, made still greater efforts, and instead of making shoes, produced an art of a " volatile and fugitive perfume," which, as has been said, " has infiuenced the whole habit of decorative and epigrammatic ornament of this generation." He lived "very moderately.'* His notes say: "I bought two sous* worth of bread and that was my breakfast. In the evening I ate a plate of soup, six sous, and two sous' worth of bread, and then withdrew to my chamber to meditate and compose." A fellow student, Damery, who had previously won the Prix de Bome, kindly gave him encourage- ment and in the strength of that he persisted. He adopted the custom of writing out his compositions. His notes say  :

• ' I wrote until I reached the point of movement. Often I passed the night in

thinking and writing without making any design. This served to me for a thorough understanding of the subjects given us to compose. In the studio they laughed at my manner. But on this occasion (The Massacre of the Innocents had been assigned), Delaroche, much pleased, said, ' This is a thinker. He has given us a composition, badly drawn, poorly rendered, but there is in it excellent inten- tion and much poetry and thought.' Henceforth I was not utterly diadU even if I designed maladroitly.'* *

Others soon adopted the same custom. The shoemaker's son had

1 La Jeunesse d'Hamon ; manuficrlt public par Ernest Minault. •Ibid.

THE NINETEENTH CENTURY. 331

become an example. Once, absorbed in thinking out a subject, on being raUied by his feUow pupils, Hamon replied that he was giving '* fermentation " to the composition, and ^'to ferment a subject" from that time was a by- word in that studio. In the atelier of Gleyre, to which he passed with G^rAme, in 1844, an afFectionate intercourse of sympathy and instruction, based on a congeniality of nature, ex- isted between master and pupil, and from that painter of dreams and lost illusions Hamon's neo-grecquisme took graceful inspiration. Hamon's life with Gleyre and a few years subsequently spent in Italy form two episodes of happiness in his struggle with poyerty. By nature he was a hon vivanty fond of pleasantries, of an indolent intel- lect, that in the ten years he lived in Italy acquired no word of the language  ; * but of a generosity that in his times of plenty never left a friend unaided and, indeed, made him a victim of panusites. Under Gleyre he, G^rdme, and Henry Picon, friends, entered as rivals the contest for the Prix de Rome. '^ G6rdme," says Hamon, inspired one with a love of work, and work done singing and laughing." Hamon at his first Salon (1848) exhibited a frieze of a door and The Tomb of Christ ; in 1849, Equality in the Seraglio, A Roman Placard, and A Paroquet Chatting with two Young Girls. He failed to win notice and patronage, and crushed in his artistic hopes in contrast with G6rdme's brilliant d6but of the year before, he accepted employment, secured for him by Gleyre, at the porcelain factory at Sevres. He soon delighted in the delicate conceits suitable to that employment, in which the director, Begnault, encouraged him, and remained there until 1853, and there painted his masterpiece — a casket which aroused great admiration both in the London Exposition, 1851, and the French Exposition, 1855, at the former being awarded a gold medal. There he executed, also, his extremely poetical conception of Spring and Autumn — a plate belonging to the Empress Eug&nie. The three months of each season are represented by three figures holding each other by the hand  ; the first of Autumn has a few leaves in her hair, the second has her head covered by a veil ; and the third is weeping beside a leafless sapling. The first month of Spring has gathered one flower, the second scatters them in profusion, and the third shelters her head from the increasing heat beneath an arching veiL He then visited Naples, Pompeii, and Capri, absorbing every-

' Out of this Ifi^oraDce and his humor grew many pleasantries. Before the oft- repeated sig^ In Italy, Canowi di vino (wine shop) he would say, *' Bat no, oh no 1 Canova is not so divine as that. Also on seeing in many places the Italian ^Ingreuo^ (" Enter ") he said, " These Italians esteem but one French ^in/sr, Ingres."

334 ^ HISTORl OF FRENCH PAINTINQ.

spent fiye years in Italy before taking up painting. He engrayed

several of Hamon's pictures, and subsequently,

(1824- )!*p«rit. having entered the studio of Delaroche, came to

M«d. 3d ci. 1861. ]^Yal in painting Hamon's delicately poetic con-

ceptions. His exhibition of 1861 which won him

a medal was two portraits. His Approaching Love, of the Salon of

1877, is of marked grace and sentiment

A youth and a maiden together bend over a stream and playf ally gaze at the reflection of the maiden's beauty  ; in the proximity of the two faces it is made apparent that it is hers rather than his that is gazed at» by the fine rendering of her semi-oonsdous, gratified, surprised look, and his interested, persistent regard. A shadowy Cupid in the background, coyly advancing, suggests the result. The Flower is a youth bending in a graceful, though long sweep from a step above to inhale the perfume from a flower at a maiden's throat, who as gracefully wards him off. Both are in idyllic drapery, and the whole is rendered with great harmony of line and suavity of contour. Love, Merchant of Mirrors, and The Lesson in Astronomy, in which the professor gazes into the heavens, and the pupils, a youth and a maiden, gaze into each other's eyes, were exhibited in

1878, and won a second class medal. Others are Gutting the Thread of Destiny, sold at the Lathrop sale for $1000  ; Menu de TAmour (1844): Aurora cooling the Wings of Love (1855): Love on a Vacation; They Wait (1886): Love's Dupes, and Love's Diorama (1887).

Lobrichon, a pupil of Picot, is connected with the neo-grecs by the slender tie of a temporary practice of charming bat not finan- cially successful work. This idealistic treatment

Timol4on Lobrichon •I'-n m rs. ' 1*^1

(1831- ), cornod (Jura). 18 sccn lu his Dream of Ossian^ and in the grace- M«d. 1868; ad ci. 'sa. fxj\ nudc figurcs of his early pictures. In one, L. Hon. 18 3. Morning Vapors, the mists as ethereal nymphs

float upward in a beautiful group. These were greatly admired, out he became more conspicuous in his discoveries and successes in that delightful land of art, childhood, of which he has been called '^ the Columbus." He met with many discouragements in his early life ; he went to Paris, sent from his native Jura at about seventeen to enter commercial life; these prospects were destroyed by the revo- lution of 1848, and he turned to drawing. Pleased with his first designs his parents straitened themselves at home, that he might receive instruction from Picot, and during this time of struggle he himself took photographs, drew hands and feet for artists deficient in knowledge of anatomy, and finally exhibited in 1869 A Vision of Ezekiel, "a picture terrible in its naif horror." Later he painted a man sitting among the dead and drinking the blood of his enemy from a skull, Hans d'Islande. All attempts in this direction only

THE NINETEENTH CENTURY. 836

brought faither disoouragementSy but by 1872 he had discoyered the onambitioiis but pleaBant field of his saccess. He supplied snbjectB for the etchings of Le Petit Monde, giving the comedies and idyls of babyhood.

Some of his works are : Once upon a Time, a child reading to four younger ones in a row, the youngest a veritable baby laughing in miachief ; Mud Pies ; First Love  ; Castle on the Sand (1872): A Young Criminal (1878): The Volunteer of one Tear; The Bed Spectre (1876) : Portrait of Mile. S. Henri (1876): The Last Bay of the Ondemned (1877) : Going to be Washed (1879): Before Guignol; The Punishment of Tantalus (a baby fastened to a high chair stretching for playthings (alien out of reach) (1880): A Box of Letters; Aurora (1881): Warbling ; Variations on a well-known Theme (1884).

In 1874 he painted his amusing Baggage of Oroqnemitaine^ the French bngaboo who carries off bad children.

A basket worn in much serrioe and admitting through a hole the little bars foot of one of the unhappy occupants, stands packed ready for transportation to serve lor his coming meal, as if left for a moment by the giant. The five ohil. dren thus held in durance, form each a type of character as dlTcrse as so many adults, for each unconscious of the fate hanging over him occupies himself in his special interest Cf good coloring and fine drawing, it is a picture of great inter- Mt. It was sold from the collection of ex-€h>Yemor Morgan, of New York, 1880.

Thongh not a neo-grec, GeofErey, a papil of LevasBenr and j«an Geoffrey Eug&ne Adan, follows Lobrichon, as associated

(Contemporary), Mar«nn*s. With him in that field of absolute monarchy, the M«d. 3d ci. '83. domain of the children; but he occasionally paints

other scenes of genre, and portraits, such as  :

First Lessons (1878): Abandoned; Unwarranted Resemblance (1879): Sewing Lessons; Basket Maker (1888): Beview of Scholars' Battalions; Washstand (1885) : An Unfortunate (study) ; The Famished (1886) : The Last Drop ; The Palms a887).

GElifBE PAOrrBBS.

Meissonier and 06r6me are allied in the eleyated rank they hold, in a similarity in the effect of their art, and in some classes of their subjects. They, however, differ greatly. Meissonier, departing from Jean Louis Ern.st MoissonUr ^ classic mcmories, bocomes, by both his real- (1815- ), Lyons. i^tic treatment and his choice of subjects

utd/4!'"'4r uVon. ^^6. 'rom the incidents of every day life, a natu- Of. L. Hon. '56: Com. L. Hon. '67. rallst. He was thc first French artist to be-

l:Z^H:XTu%:t'^'- ^e^^? ^^^^^'^^ ^^ n^^at^re genre, and by '78. E. u. his influence made genre painting the pre-

Menr.. MMnich Ac.d. '67. dominating art of Prance. He was for many

years the most conspicuous artist of the entire French school, but

336 ^ HISTORY OF FRENCH PAINTING.

recently his eminenoe has been somewhat less solitaiyand sensationaL Make room for the king/' howeyer^ still exclaim the critics in ap- proaching his works^ and the &bnlons prices of his pictures still bear evidence to his royalty. ' The worth of his works lies in the perfection which he carries into all be attempts, and which makes him in paint- ing what the Qermans name Bichter in literature, the only one," Iiappily suggests A. Wolff. For this he combines the various powers of the true painter; drawing, color, fineness of touch, a feeling for the pictorial qualities of his subject, and perfect rendition, in which may be included that of difficult effects of light. But, what counts for much, he brings to his work the power of the man in persevering and detailed labor, in preliminary studies of each item, so extraordinary as to be in itself an interesting study ; and a dignity of conscience that, disregarding the approval of judges, be they the jury, the crit- ics, or the buyers," compels him to finish thoroughly in order to satisfy his own standard. This he will accomplish even if the labor be prolonged for years, as in the 1807," or even if the work, never completed, be destroyed. This rectitude also, in later years, when his simple signature would bring a small fortune^ keeps him from plac- ing it on any incomplete or negligently executed work. Under such treatment one figure often suffices for a picture. Permeated with expression, it alone suffices to present a rich pictorial idea. Line, ges- ture, which, whether long sought or not, he always finds and makes true and inexpressibly expressive, pose, costume, and highly finished accessories, combine their testimony to the character or the incidental thought to be depicted. The result is a delicious " presentation of shades of character, even to foibles  ; of completeness of surroundings, all too small or delicate for narration, but most telling in his tale. That the effect is increased by the attention being divided by no other figure, might be said if, in the less frequent pictures of two or three figures, the differing r61es portrayed did not, so remarkably are the slightest discriminations caught and produced, each enhance the other. The most subtle thought, the most evanescent feeling is

> The payment by the late A. T. Stewart of $00,000, besides customs duties of $7,000, for *' 1807,*^ conld have been only for estimated value received, as weU as tbe late W. H. Vanderbllt's purchase of General Desalx and the Peasant for a sum relatively as lainpe. The price of some of this arUst's small pictures would cover them several times with gold, or several times outweigh them in that precious metal. Soldiers at Cards, painted in 1860, eight by ten inches, sold at the Johnston sale (1876), for $11,500, and Marshal Saxe and Staff (1866), eight by nine iDches, for $8,600. At the Latham sale (1878), The Amused Cavalier, seven and one-fourth by five inches, commanded $8,000. In the Library, a smaU picture, but a rarely beautiful treatment of color, sold at Mrs. Morgan's sale (March 8, 1886), to a dealer well versed in values, Knoedler, for $16,696.

J. F. MILLE' l.E DKPART I'OUR LE

• Vi . v.  :'«»• '. (*>v ti'i/ kin//' li'/H'^MT, ^t;ll ox'^jaim thr iTni<'i? i^i aj- j • '».* ^  :• •< r!»-, Hinl  ?iH' fal-nl-'US ])Mcrfe of his i)ictuuv r^**!! h; *;r

•'.•.' hl-^n >a!'v.' 'liif worth (■.' LL-- works lii\s iu iho p* rfcc^it n '.  ! . •'  :•♦ '•Mr'M«•^ ini' .ill hi* liTi.'injitj'. .rul ■^\hi(h jiiukt'S him vi ]>?i:»:-

• .■ > ij *'.(  »I*nr.;iii- I  ;inic Ivu liter in littTatiuv, •* iho cirily oiir."

J '} 5 . '. -'s A. \\>1(T. r'»ri'.it;hi conihjius iht varit;uy p(»vV' ^ • • • ' » I* I J M r; (l.:i.vMiir. «-o^ /, Iimhi-^s of tc^iiclj. n f. "Jiiir *' r t- • \ t .'..i! ,,'. .'\'./\< i>\ iiis s'.;h;c«-*, u!. 1 |H»rf(('t ronditit)n, in whi'-h i» .v '..■ ..I'll ..i<I i' «t. (.' <l!r*' ■..il «'iT.ft^ of liL'hu Bat, what *.-. i*].*- f  »i

• i.f 1, h«  'uU'-;? lo 111." W'-rk iht- pow.-r of the man in pi-rscvfrii;;: a: •

i\.'"  !;•«! 'r.hrr, in |.r?lPi-'T arv Klr-'iu.^ of i'Jk-Ii item, ho oxtraopl  : ' ^-

t. to In' 11. it-'i'if in inir<.sti: i; PUnl\  ; .i:i'I a dignity of C(»!ift(  !• . .•

•*i:it, (^l-r^/ i.*-i:^  ;^ tU' uj jTo-*:!! of jiidir* s, ho thoy tije jury, tin' i rit-

^, "I th.e •* ^MU(M>/' con)iK'is hin) to tini>l^ tU')rou^hly "u i>ri]» r t»»

•?:::v 1\ L'ti «.wn ^land'^rd. Thli ht- wiU acconi})li3h om'U if tin- Ir t !•■' |'rui«'i:/»"l fi'i* viarH, as in the ** 180*," or v\r\\ if the w«»rk, n^vi'i C7i.i»hntHl, 1.' (1«  sir'.\('(l. Tj;iv njctitiulr also, in iator\t;4i>. wh^n h:\ -^iii j'k* si/rMturc v-u-ukl I'fing a mj...I^ *'nrtnii(', ko<']'? him fi -in plao- iiiLT *t (»'«  any infoin]j]rie or n-^^^'u* nil\ cxrcutrd work. Uiph-rsnch tn.'atmt'Tit (>n»' t'lL'un* often su *'r>5 for a ])ictaro. Perpjealiii witli f\]Wi.--'"-i, it alone ^ufTiies toTajif jliJWicJHpiif orial idea. Line. •. *b- tun», \>hit:a, whet'-., r h)'jg KiUi-rht or nol, he always finds and nul.'.s

tnie and iiie\:.-.» .'•^:^L«Itfa^{it(^fe^1vii^.V^^*'^^^•"'^'^^^^^ finished

uee ^<^ov'es, comhioi' their tet^timony to the character or the ineidental tliout-dit ti» be (h f.i tvd. Tlie n'>^uit is a ** delicious" ]m*M:ntatioii of bha-lLS of eoarai *• i\ even to foii^I.^s  ; of c^ripleteuessof sxiiToimdinL^s, «11 too smtiM or o.'.'a: • for ra:/a'i'.i., but mo-^t tellin;? in h[» ta«e. That tli.» ei'-.'t i»*» inerea^rd by the u:u ilion being divided by no other f..Li:r", n i "'i: bt' nai'l if. in the le-^> frrM.uerit picl'ires of two 01 tls'ee t:_rMres, the* .I'u.-iinj^^ nVn'? portn.yed dM not, so n'markably Hio t. e cJl'"i t<'<t. d'-f riUi-jiaiions e,j'i.r].|^ ^,u\ j.n -luced, each enliance t-e oth»r. Tfie iM.'>t Kubti » t})oii;jlu, t\«' ni'wt evanescmt f<.«  !infc( is

■ ^,. ' i-r,.'!,! j.iv. ./"M «>i'... f V r e tin;ato 1 V'-lut n'l eive<l &n \fell a>- tli;* liito W H. .'V ^^.('i/. ,» of (if.'.TJtl Ji"'Hi>: -jKl *l-*' l*"a 'int fo'* a Buni rplKt1v<*!y as larL'«*. .» .T -^ .11' of 1: ^ ar»i'«i V c'l^.ill pi^irrr-* wmiUl cov* r tliern M'Vrnil tiiin f "with ., .r.j, 'ii.ii , .•::\v»""h i\<.ii In 'fuU  ;>rt<iou8 ra 'Jal. S>l'liiTh at Card«,

• '•'. 1 ii 1 I  »• \ci\ \ui'np<f M»:a u» l.f» .Jrii,.sior. e'i.»MlH"r»), f^»r $ll,.Vn». a!-*)

I «  -••  »T ij^** , *»».Vit ry rua iDtlii*., for f". •-K). At th«» l..e^*um f '• , \ • .i>,'(, «  i I'.ur, r«r f-i' ar.c' nu '<.irih bv live iD('J'j«. 001:1 nian Ird |5^, <"'.'<• , . .  !i j.'.*Mit. l»ut a j:\.r- 'v b«  i'Mlfwl ir»"i*jp.eiit «>f coinr, khM at M . . '. .. .5 ..•^'■<^,. t.'„ r. il.a.'T veil >*•• -mI ii- v.iUi.s. KiJ'»f 'Icr, fof $lt),5'^.

THE iriNETEENTH CENTURY. 337

fastened by his brushy so that the Bookworm's intense delight^ the Smoker's indolent satisfaction, the Ohess Player's pleased and trium- phant look oty at a winning move, '^Now what  ?" the fussy author- ity of the delegated Beader of Military Orders, ' the charm felt by the Connoisseur in his treasure-trove, are revealed to us with an intensity and truth that compel us to recognize the appeal which the human nafcure he depicts makes to our own. But the over-fulness of detail forcibly demanding attention wearies if one looks at many of his works in succession. Nor is it the deepest feelings that he usually portrays. Often the motif is merely an attitude, fleeting, but suggestive. He has great mastery over the male figure, and, like G6ricault, has thoroughly studied the horse. Also, like G^ricault, he has seldom painted women or children, doing so in only about thirteen of all his works, and six of these only are of women of the elevated class. These are :

The Arrival, in which ladies meet and welcome guests  ; A Lady and her Gal. lant on a Staircase, of the eighteenth century  ; a picnic scene of four of each sex, called Sons 1* Ombre des Bosquets  ; The Kiss of Adieu, a tender parting of lovers ; A Woman Listening to a Man Playing on the Organ  ; and The Embroiderer. The other seven : A Boatwoman ; Two Washerwomen of Antibes ; a barmaid who hands the stirrap cup in The Halt, a finely rendered face ; a tender motherly woman, with a child in her arms, looking oat well pleased at the door of The Halt at the Inn ; a woman in a distant window with whom an officer chats while his horse is being shod in The Farrier ; a woman among those passing on the roadside in The Tumebride  ; and the woman asking alms, who is simply introduced to supply the motif of the cavalier's drawing rein upon his prancing steed in L'Aumdne.

The sharp accentuation and staccato treatment of the features, the possible exaggeration given to facial lines in order to render his forceful, effective expression, and his lack of grace are not suitable for the treatment of feminine traits, more than is the absorption by his exact science of tenderness and sentiment. Of these he expressed ' more in his youth, but they were early lost from his works.

His perfect technical skill, his accuracy of detail, is such that his diminutive figures bear the magnifying lens with a result that excites wondering admiration.' Great finish of surface is a special quality of his painting. It is said that he constantly sketches in large, to preserve a broad treatment, as he also closely studies every part, for

1 See in L'Ordonnance, or Reading MiUtary Orders, in theVanderbOt Galleiy, each of the three figares ; the general, In eveiy line ahowlDg the man accustomed to command ; the hossar who has brought them, passive, patient, ready to receive commands ; and the young officer keenly reading the face of the chief.

• The mot among amatears and connoisseurs formerly was: "Have you a Mala*

sonier t " " Ah I yes, I think I have one somewhere In my vest pocket.'*

23

838 A HISTORY OF FRENCH PAINTING.

• • insignificant details " is a phrase not oomprehended by him. From

these he makes his little miracles of detail — genre in miniatore^ charming because speaking in such delicate shades of meaning. The wonder is 'Hhat such small heads can carry all they^' da In his Napoleon at Solferino, in heads not larger than a pea^ he has expressed the details of the yarious features ; the folds of the skin  ; the warts  ; the color of the hair. More wonderful still, he has gener- ally achieyed his victories with insignificant subjects. Until his later military pictures — and before then his fame and influence had been great — ^he depicted no grand historic ideal ; nor had he availed himself of the unconscious charm f el t in one's own times and sympathies. On the contrary, he was largely independent of the actual life of his own period, relying on the types of universal human nature common to all ages. Preferring the picturesque costumes of those times, he formerly took his characters chiefly from the eighteenth century, of the last years of Louis XV. 's and the beginning of Louis XYL's reign. Except for military subjects, he studiously avoids the unpictorial costumes of his own epoch. But by great skill and study, the personage he paints is made to accord in all respects, physiognomy, bearing, action, with his habiliments and accessories ; and though laces and velvets, ruffles and knee breeches, curled wig and powdered hair, or quaint fur- nishings, may have directed his choice of subject, still everything;, even in all his exquisite detail, is kept subordinate to the character. It has been forcibly said that while with Decamps, man was but an insignificant accessory of nature ; with Meissonier, all nature is in man. He is often compared to Terburg and Metzu  ; he surpasses Gerard Dow in expression. Says Charles Blanc  : The most illustri- ous Hollander has not had this tenuity of touch, this religion of the little, this microscopical scrupulousness, this perfection of the invisi- ble. • . . Meissonier has attained the highest style of the art of painting grandly in little." Imagination based on close study, though he is accused of lacking imagination, must chiefly serve in conducting him into the intimacy, the familiar details of the past, the facial lines made by thoughts and feelings difFerent from those of our day, as it must also aid in his keen, delicate characterization of every r61e in life that he attempts to portray.

Meissonier's father was, until late in life, a colonial broker, and at his death, when the artist was thirty years old, left a prosperous busi- ness to another son, one of four children. The artist came in childhood with the family from Lyons to Paris. There, after some hesitation on the part of his father to consent to his taking up art, owing to the

THE NINETEENTH CENTURY. 839

troubles of the transition jnst then being made from the long estab* lished anthority of the classicists to that of the romanticists, he was placed nnder the tuition of a relatiye, Jules Potior, who had had the adyantage of the Prix de Bome. But the youth soon became ^* pupil of L6on Oogniet/' who at that time was designing his picture of The Campaign in Egypt for a ceiling in the Louyre, and gave his pupO little attention. But the latter speedily deyeloped the keen power of obseryation which underlies all his success. All he did was, howeyer, in the interyals of his regular studies at the Lyc6e Kapol6on, for his father insisted that a citizen's education should supplement the Bo- hemian career of an artist. At the adyice of Trimolet, the leader of a little group of pupils, companions of Meissonier, all of whom in artistic hope were struggling with poyerty, and of whom Trimolet died early of want, he studied the Dutch and Flemish masters in the Louyra Trimolet was accustomed to say that the French school had lost all originality in following the classic and Italian methods, and could only be reclaimed by the close study of Terburg, Metzu, and Gerard Dow. Thus Meissonier was early 1^ into the Dutch treatment. But heneyer imitated the Dutch masters, and only took from them direc- tion, ** sanction," for his talent. Not being able to command the one hundred francs a year required to become a pupil of Delaroche, he was obliged to forego that earnest wish, though he relates that his father, desiring to diyert his style into their path, offered him a hundred francs for eyery copy of the old masters from the Louyre. The story is completed by his exclamation, That one hundred francs I neyer managed to gain." With his friend, Trimolet, and for a time in con- nection with Daubigny, from whom he separated to assume the more dignified life demanded by his marriage, he betook himself to the illus- tration of books ' to eke out the fifteen francs per month which, with a dinner eyery Wednesday, was allowed him from his father. His father, howeyer, somewhat increased this by an occasional purchase from him of a water color. One of these purchases still exists. The Midnight Watch Finding a Lifeles? Body at a Street Oorner. After many dis- couragements and rebuffs Meissonier's first success was attained in the designs for La Ohaumidre Indienna In the wonderful minute- ness and excellence of this, his future course was foreshadowed.' He

> " Les Fran^Als, pelnU par enz-mtaes," and Bakac.

• Id a Tlgnette an inch and a half square is represented a room, upon the walls of

which are seen two prints whose subjects are plainly discernible, one as the English Doctor thinking of the Pariah, the other, the Pariah thinking of the English Doctor, and between these prints hanging to a nail are the pipes of both, and a ticket attached by two pins says they are from Meissonier's collection.

840 A HISTORY OF FRENCH FAINTING.

also made some etchings which are now yery rare, and in 1834 he first exhibited at the Salon an oil painting. The Visitors of the Borgo- master,' and at its sale for one hundred francs his father rewarded his success by giving him a holiday in Italy. Meissonier's treatment was as a signal thrown out to the false romanticism then prevalent in the field of art for a halt and a rearrangement of its forces under firmer discipline and into more serried columns, for it was by none other than the forces of romanticism that Meissonier was served, namely  : dose characterization, dramatic action, expression, light, and color. Later, artists were to recognize this signal as a royal gonfalon, and crowd up to its following; but now, on the coutrary, both romanticist and con- servative had each his special dart for its bearer, and in 1835 his pic- tures. The Chess Players, though painted with baby's eyelashes,'^ as Delacroix said, and The Little Messenger, with Bousseau's, were rejected. But in 1836 by a wiser jury the same ones were admit- ted. Under the appreciation of amateurs he continued, and his picture, A Priest Attending a Sick Man, was purchased from the Salon of 1838 for tlOO by the Duke of Orleans, but at the sale of the prince's property in 1852 it brought $800. That year he married the daughter of an artist from Strasbourg, who had brought his family to Paris, and with whose son, Louis Steinheil, Meissonier had formed an intimacy. Pictures of this class followed rapidly, as The English Doctor of 1839 and the Man Beading of 1840. This won him a third class medal for genre. It is a fine specimen of his power of expres- sion.

An old man stands near a table ooTered with boolcB, whose suifaces are repro> dnoed in aoonrate stain and shade and lustre even. The reader's attitude expresses his perfect absorption, by giving, from the short distance between his feet, the impression of the last step having been, in his intense interest, nnoonsciouflly taken and action involuntarily suspended.

This same Salon, in an Isaiah and a St. Paul, passed over in silence, proved the higher appreciation commanded by his genre, and he continued it in The Chess Players of 1841, for which he received a second class medal. Purchasers besieged him and works of this clasff multiplied. The opposition pronounced them without value, and charged him with painting without thought, vnth having no grandeur of conception, no element of the grand style. To this he offered the Beading at the House of Diderot of 1851, an improvement upon the

' This, now owned by Sir Richard Wallace, has on its back the inscription in Keis- sonier's band, ** My first picture, exhibited 1888 or '84." Sold then for one hundred francs to the Society of the Friends of Art, it fell by division to M. Patorle, who kept It tm his death, when It was sold to Sir Richard Wallace.

THE NINETEENTH CENTURY. 341

grand style in the yerj violatioa of it by expressing delicate shades of feeling. He gave in Diderot and his friends, Grimm, D'Holbach, and D'Alembert, the facial lines, the conscious air of the philosophers of the eighteenth century. He was then accnsed of being able to paint interiors only : he answered by his Portrait of the Sergeant, an unflinch- ing exterior with its figures bathed in an unsubdued light, and made a charming success, as later, in 1867, by The Halt he demonstrated the possibility of painting in open air under a diffused light that con- founds values and requires the representation of objects at different distances to be made by management of the greater light among lights — the problem of the impressionists. When his detractors further demanded movement, granting his power in quiet, placid figures, he produced La Bixe, in which two athletes at a pot-house, with the violence of anger, strain every nerve to break away from friends, who, with as violent a struggle, hold them from doing injury to each other. In expressing human exertion it is a masterpiece, and Louis Napoleon made of it a royal gift to Prince Albert (Queen Victoria's Collection.)

The campaigns of Napoleon IH. made Meissonier a painter of mil- itary scenes. Li these he departed from his miniature treatment, exe- cuting some very large works, as The Cavalry Charge of 1867 ; Napo- leon III. at Solferino (the artist was present at that battle), of about thirty figures, for which he dexterously won, as is related by the artist himself, a sitting from all the ofScers, even the emperor  ; and, reverting to the greater glory of the first Napoleon, the '^1807,'* finished 1875 ; The Betreat from Bussia ; Napoleon Overlooking a Battle ; Napoleon and his staff ; and ** 1814 The last six with two others, the Battle of Lodi, in 1796, and Napoleon I., a single figure, form a historical series called by Gautier "The Napoleonic Cycle."

Each of the eight merits a chapter to describe the artistic methods by which it conyeys the spirit of its subject. They lack nothing of the effect of the actual, of which indeed the artist depicts all the significant details. The Solferino and •^814 " in the Salon of 1864, as well as at the Uniyersal Bxhibition of 1867, hung opposite each other, a contrast of defeat and victory illustrated in the Uncle and Nephew, and, curiously, the defeat for the Uncle. In the Betreat the blue uni- form of the Emperor in the neglect of defeat, his pale face, fixed look, con- tracted mouth, buttoned ridiug-coat, the abadiog of feeling from the chief to his Marshals, Key and Berthier. all serve to impress the story. The " 1807 *' rep- resents Napoleon I. at the height of his power, just after his success at Fried- land had, in conquering the Russians, destroyed the Russian and English com- bination against him, and the "1814" in the ebb of his fortunes after his disastrous retreat The " 1807 " is a grand review of the army, and in it the love

842 ^ BISTORT OF FRENCH PAXNTZNG.

and enthosiMiii of the offioefs and men are, perhaps, tlie hJglieet ezpreaBtona of feeling which Meiaeonier ever achieved. The enthndastio loyalty of the troops and the trusting reliance of the commander, are strongly portmyed. The colonel of the 12ch Regiment of OolrassierB rises in his stirrups to fall height, raises his hat for the salnte, and we can almost hear his " Vive TEmpereor  ! " as he dashes by. This ' gave great opportanity for the artist's skill in painting the hone.

Bat though snooessfol in ' these, the artist's most namerons and best known works are still his gems of genre— of subjects often only slightly yaryingyas his seyeral Readers and his many Smokers, of which there are two classes, the respectable and the poor gamblers. Some of his genre pictures represent most charming light from open windows, Bembrandtiflh interiors of the brighter sort, as A Young Man Break- fasting, and A Reader at the Window, which gives almost as pleasura- ble an effect as Bembrandfs famous Jan Six. Meiasonier's qualities ' made him an excellent portrait painter, but of men only. In this department of art he also made the dress of great importance, as indi- cating character, taste, relation to life, which renders his portraits of value to future generations. He, however, here, as well as in genre, keeps the dress secondary to facial lines and expression of character. While he has been conspicuous in both the second and third art- periods of this century, his merit and fame have been unquestioned in the third, during which his official honors haye been awarded, his power as a painter of military scenes developed, and his life's strength centred. He has been the recipient of aU the official honors that can be conferred by France upon an artist, and no one has disputed his right to them. He was Commander of the Legion of Honor in 1867; he received the Grand Medal of Honor three times ; at the ITniversal Exposition at Paris in 1855, in 1867 when only eight were awarded, and in 1878 ; and he was made a member of the Institute in 1861, succeeding to the chair to which that fixed classicist^ Abel de Pujol, was appointed in 1835, the very year he was himself excluded from the Salon. This had been occupied besides only by Gros since its estab- lishment in 1816. He attained the height of his career in 1867, when

> He was fifteen yean In painting It, and the price rose as more and more time was ■pent upon It. Mr. Probasco, of Cincinnati, first contracted to take it for $10,000. He also consented to meet several advances until, considering the last one exorbitant, It was sold to the late A. T. Stewart.

«  It is said that M. Becr^tan paid $70,000 for the ** 1814. "

• His great accuracy Is the result of indefatigable paina-taking. In order to paint Napoleon in his 1814," it is related that he obtained the famous blue overcoat of the Emperor from the museum, where it is carefully guarded, and had it reproduced exactly by a tailor. To secure the atmospheric eifects he put it on, mounted a " lay '* horse, and painted before a mirror tn an open room on his roof in a snow-storm.

TR^ NINETEENTH CENTURY. 348

his pictures at the TTniyersal Exposition made him recognized as at the head of French art, and his influence made its chief practice the painting of small pictures of incident. He is a member of the Boyal Academy, London, and of the Munich Academy.

The following is an approximately complete list of his works :

Of those owned in Paris : 1851, Lute Playen, Soldiers of Louis XTTT. Laurent Richard Oollection ; La Vedette, Smoker in Black, Seated Reader, BCadame de Caa- sin; Flnte Player, M. Pastie ; Reader Standing under the Wkidow, M. Malinet ; Under the Balcony, M. Boacheron  ; Sentinel at Antibes, M. Charles Leroox ; Bfan- nscript Reader, M. Adooazd Andrfi  ; The Spy, M. Crabbe  ; Poliohinello. JCadame Ck>ttier ; The Bxeto, Shoemaker, Musketeer of Lonis XIII., M. Ii6yy Or^mieux  ; Wine of the Oar6, Difficult Passage, The Secretary, CuixassienB of 1806, Two Old Friends, The Two Van der Yeldes, A Reader, '< 1814 " (860,000 fr.), M. Secr^tan ; Amateur in Studio, Vicomtesse de Tr6deme ; Victor Leftanc (portrait), M. Victor Lefranc ; Halberdier, Smoker in Bed. Baron Gnstave de Rothschild  ; Amateurs of Painting, IL Lfon Say (88,800 fr., 1868, at Ehalil Bey Sale); The Barricade, Man Choosing a Sword, Reader near Window, Reader in White, The Breakfut, M. Van Praet ; Sunday in the Village, Due de Narbonne  ; Portrait of Owner. Designer, L'AfEaiie Gl^menoeau, Alexandre Dumaa ; Reconnoissanoe in the Snow, Madame I. Pereire ; Hussar, Stirrup Cup, Consequences of a Quarrel at Play, M. WiUiam Stewart ; Dragoon, Altar of St. Mark's at Venice, Portrait of Madame Meissonier, Portrait of M. Charles Meissonier, Cavalier by the Sea, Washerwomen at Antibes, Ruins of the TuUeries, The Song, Interior of St Marks, Etcher, Flemish Interior, At the Window, Chess Players, Deathbed of Thiers, VL Ernest Meissonier ; La Vedette, Amateurs of Painting, Duo d'Aumale ; Portrait of Owner, Baroness Th^nard ; Amateur of Drawings, Baron Hulot ; The Red Umbrella, M. Peronne; The Departure, M. Niren ; Cayalier of Time of Louis Alll., Madame Tabourier ; Smoker of Time of Louis XV., Madame Angelo  ; Napoleon HI. at Solferino, Lux- embourg Museum  ; Phoebus and Boreas, M. G. Luts  ; Portrait of Meissonier, Lit- erary Researches, M. Gambard ; BaU Player, Terrace of St. Germain, M. Charles Heine ; The Farrier, M. Bianohi ; Violoncellist, M. E. H. Kraft ; Reader (Gentle- man of time of Louis XHl.), M. Auguste Dreyfus ; Amateurs of Painting, Baron Hottinguer ; Vedette, M. Pierre Duch^  ; 1866, A Song, Vicomte de Greifnhle ; Un Incroyable, Polichinello, Reading at the House of Diderot, 1865, Baron Ed- mond de Rothschild; Guitar Player, Baron Adolphe de Rothschild; 1864, Na- poleon in 1814, Ball Player at Antibes (46,700 fr.). The TraTsller (80,600 fr.), The Laugher (36,000 fr.), Defoer Sale, Paris, 1886 ; Company of Musketeers (60,000 fr.), Hall of CavaUers (126,000 fr.), J. W. Wilson Sale, Paris, 1881; Smoker (84,000 fr., Tenc6 Sale, 1881).

Of those owned in London  : Officer of Musketeers. Color Bearer, Mr. James Duncan : 1867, Reynard in his Cabinet, Mr. Dayid Price : The Confidence, Mr. John Siltzer : Portrait of the Sergeant, Chess Players, Baron Schroeder : 1884, The Visitors; 1868, The Braves, Scene from the Decameron ; 1868, Poliohinello; 1863, The Halt, Napoleon I. in the Campaign of France, Throwing Dice, Cavalier of Time of Louis XIII., Cavalier of Time of Louis XTV., Musketeer of Time of Louis Xin., Connoisseurs, Gamblers, Sentinel, Foul Play, St John in Patmoe, Sir Richard Wallace ; 1856, La Rixe, Queen Victoria.

844 A HISTORY OF FRENCH PAINTING.

Of those owned in other citdee of Europe: The Game Won, M. Steengiaehl, The Hague ; Portrait of the sculptor Gemito, M. Gbmito, Naples ; After Breakfast (Smoker), The Bibliophile, Baron Springer ; Awaiting the Audience, M. Tretiakoff, Moscow ; Two Lansquenets, M. Van der Vies ; 1862, In the Anteroom, Stirrup Cup, Standard-bearer, Musketeer, C. A. H. Bolckow, Middlesborough, England  ; 1875, Horseman's Best, Kunsthalle, Hamburg ; Corporal of the Guard (£514^ Arbuthnot Sale, 1882).

Of those owned in the United States  : '* 1814 " (1862). The Jovial Tiooper (1865), Mr. W. T. Walters, Baltimore; The Ante-Chamber, The Stirrup Cup, Marshal Saze and Staff, Mr. D. O. Mills, New York; Chaplain of the Gkiard, time of Louis XHL, The Stirrup Cup, The (}ame Lost, Ancient Armor (pen drawing), Mr. James H. Stebbins, New York  ; Halberdier, Mr. John Hoey, New York  ; Chess Player, Mr. August Belmont, New York ; The Captain of the Guard, Mrs. R. L. Stuart, New York ; The Boad to Antibes, The Two Van derVeldes, The Sign Painter, Miss Wolfe's legacy to Metropolitan Art Museum ; A Trumpeter of Louis XIH., Mr. Charles Stuart Smith, New York; Guard Boom, Mr. T. H. Havemeyer; The Smoker, BCra. Marshall O. Boberts; " 1807," sold ($60,000) from Mrs. A. T. Stewart's collection to ex-Judge Hilton and presented to Metropolitan Museum ; The Beggar, At the Bar- racks, Beminiscence of Franco-Prussian War, Portrait of the Artist (water color), sold from Mrs. A. T. Stewart's Collection, 1887  ; The Smoker, Mr. William W. Astor, New York ; Arrival at the Ch&teau, Portrait of the late W. H. Vanderbilt, Artists at Work, Time of Boucher (1857)> General Desaiz and the Peasant, An Artist and his Wife (an order, 1878), The Ordinance (1866), Man Beading (1856), Mrs. W. H. Vanderbilt ; The Bepublican Sentinel (water color), Mr. A. J. Drexel, Philadelphia; On the Stair (1879), Mr. John Jacob Astor; A Paris Commissionnaire, Mr. A. J. Antelo, Philadelphia; TrayeUlng Shoemaker, Mr. W. B. Bement, Philadel- phia; Musketeer, Mr. H. L. Dousman, St. Louis; Poetry, Mr. D. W. Powers, Boches- ter; Halberdier, Mr. H. V. Newcomb, New York; Cavalier, Mr. H. P. Kidder, Boston  ; A Noble of Louis XHI. Sleeping, Mrs. Paran Stevens, New York; Vedette, Mr. T. B. Butler, New York  ; Historiographer, Mr. W. Bockafeller, New York ; Portrait of Owner, Senator L. Stanford, San Francisco: Portrait of Owner's Wife, Mr. J. W. Mackay, San Francisco  ; Troubadour (sketch). Hussar, Mr. T. Donald- son, Philadelphia ; The Smoker, sold from Mr. G. I. Seney's Collection, 1885 ; In the Library (1876, sold 1886 for $16,625), from Mrs. M. J. Morgan's Collection to Mr. C. Crocker, San Francisco  ; Standard-bearer (1851, $15,000), Vedette 1812, (188a, $15,000), sold from Mrs. Morgan's Collection to Mr. S. P. Avery, New York ; Cavalier, Mrs. M. A. Osborne, New York; Standard-bearer of Flemish Civil Guard, Musician, sold from Collection of Mr. A. Spencer, New York, 1888.

Variously distributed : 1836, Little Messenger ; 1888, Monk Consoling a Sick Man; 1889, Smoker, The Doctor; 1840, Beader; 1841, Chess Players; 1842, Smoker, Violoncello Player  ; 1848, Painter in his Studio (11,200 fr. 1861, Lehon Sale, Paris) ; 1848, Guard House, Young Man Examining Drawings, Ghime of Piquet ; 1849, Bowl Players ; 1850, Smoker ; ia51. Lute Players  ; 1852, Sunday, Incident of Civil War  ; 1858, Young Man Studying, Moreau before Hohenlinden  ; 1857, A Painter, Man in Armor, Harquebusier, Art Amateur, Standard-bearer, Man at a Window; 1858, Soldiers at Cards ($11,500 Johnston Sale, New York, 1876) ; 1860, Smoker; 1861, Card Party, The Adieux, Expectation, The Farrier, Musician ; 1867, Cavalry Charge, Napoleon and bis Staff, The Eiss of Adieu,

THE NINETEENTH CENTURY. 345

Cayaliers m rouUy Retreat from Russia, Dictating his Memoirs, Hetzel ; 1866, White Horse, Chemin Faisant : 1860, Chimney Comer (Renseignment)  ; 1873, The Philosopher, Polichinello and the Rose ; 1880, The Traveller, The Adieu ; 1888, Madonna del Bacio ; 1884, Paris in 1870-71, Bad Humor (Cavalier warm- ing his foot), The Embroiderer, In the Shade of the Bushes (a picnic), Frisantson Mousaohe, Napoleon Oyerlookinga Field of Battle, The Emperor and his Staff

The practice of art is continued in the family by Meissonier's son and pnpil^ Jean Charles, and by a nephew of bis wife, Adolphe Charles i^douard Steinheil. The son follows his father, though not

Adoiph.ch.r,.. ^dou.rdst.inh.i. ^"^^ ^^^ «^P8> ^^^ htw rank Bfl a genre (Contemporary), Ptrit. paiutcr, haviug rocciTed a medal in 1866.

M.d. 3d ci. .882. SteinheiVs father, Louis Charles Auguste

Steinheil, was a painter of merit of Strasbourg. Young Steinheil is giren like his uncle to the subjects of the middle ages and much affects schoolmen and students. His Poor Student who, with his book by his side, and his house-keeping utensils on a shelf oyer his head, is mending what his half-clothed condition indicates as his only suit, was his first exhibition (1872).

Others are  : Conversation at the Home of a Painter (1878), and A Lecture of Abelard (1877) ; The Right of Asylam (1878) ; The Amateurs of Engravings (1879) ; The Usurer (1880)  ; The Death of Richard Coeur de Lion (1881) : A Vene- tian Senator, and Playing the Psalterion (1884) ; The Drawing in Blood (1885) ; Painter of Dead Nature (1886).

He also is known by flower pieces, some of which were exhibited at Bordeaux while he was yet a student in the Golldge d'Harcourt.

Among the olose followers of Meissonier are Plassan, Fauyelet, Ghavet, and Fichel. These have often challenged comparison with Antoin* gmiie pittttn him iu the samc subjects, yenturing, even at

(1817- ). Bord^tux. ^YiQ same Salons, upon Smokers and Headers

Men. 3d cl. '52. rvi x • V • 1 ■« 

Rap. '57. '59. — Chavet m at least two instances, and Fauye-

L. Hon. '59. \q^ ^ud Fichcl iu one Smoker and seyeral

j«tn Ftuv«i«t Eeaders. They haye, neyertheless, been

Med. ad c\. ^^8**"* awardcd frequent honors and three of them

Victor chtvet \i9kYQ been decorated. Plassan's picture of

(>82s. ), Aix. the Salon of 1859, The Beading of a Bo-

Rr'.' Vl'i^Hon. '59'" ^' "' mance ; that of 1863, Le Leyer  ; and that of Eugine Fichel ^^^^* Going to the Baptism, were bought

(i8a6- ), Ptrifl. for thc Empcror and reSxhibited in the

Rtp.'e.rM^d. -69. Uniyersal Exposition of 1867, so famous for

L. Hon. 'Tti. works of the school of lookers through the

small end of the telescope.

846 A HISTORY OF FRENCH FAINTING.

A confcemporary rather than a follower of Meiflsonier, Compte- Oalix^ in his way a perfect master of his craft, represented in genre with an exquisite rendering the poetic and literary side of art He

Frtn^oi. CLudiu. Compu-Caiix rffleoted the inteUectual feeling of his (1814-1860), Lyons. time, but added to it more than a tonoh

M.d.3dci. '44; M^.'57. '59. '^i. ^f ^^0 seutimeut of lore, a suggestion of

passion even, and thus is essentially allied to the '^peintres galants." His works became the fashion, his name famous and he was a public farorite during the forty years of his work. He escaped the con- demnation with which tiie Academy yisited those great names, Bousseau, Millet, Oorot, and others, probably because his was aa art of dreams, without much of fact, or much of humanity. But it was of most pleasing subjects and scenes, usually of the refined luxurious- ness of life, painted with a light elegance. It is illustrated by The Song of the Nightingales, to which ladies in rich costumes listen in the moonlight, seated on the steps of a rich mansion embowered in trees ; also by The Parting :

In the latter, a refined yonng girl charming in simple el^guioe of attire leaves her hand, as she rises with sorrowful mien from a seat on a stone bench in a garden, in the lingering clasp of a yoong man, who feelingly bends over it as he retains the seat beside that she has left. Another oharacteristio work is The Geography Lesson (1872), in wliioh a young man traces outlines on the ground for a deeply interested young girl looking on. Others of his worlcs are The Betom of the Emigrants and The Happy Meeting (1841) ; The FaU of the Leayes (1843) ; St. Elizabeth of Hungary (1844); Love in the Palace  ; Lore in the Cottage (1846); Alone in the World (1848); He Laughs Best who Laughs Last (1853) ; As One makes his Bed so he must Lie (1868) ; The Poor Mother (1857) ; The Boad that Leads so Far (two loyers walking); (Jood Night, Neighbor; Where are they Qoing  ? (1875) ; and twenty-six others exhibited from 1808 to 1880, the last being The Hos- pital Nurse.

After '^ plaoe au roi ^* and to his miniatnrist followers, plaoe mnst be yielded to the phalanxes of incident painters, whom Meissonier more than any other, Q6r6me perhaps approximating him, has led into these by-paths of art. But they are also most charming by-paths of nature. For since in the beginning it was giyen to man to win the mastery of the earth, the delineation of man's character, the story of his life, its eyery-day incidents, are but the natural course of that conquest associated unavoidably with earth's most significant things. Meissonier's rank and file, the genre painters, have appeared at the Salons in platoons of forties and fifties, all of trained and disciplined hand, and bearing implements ready for skilled work. They may

TRS NINETEENTH CENTURY. 847

handle these in a difFerent manner from the king of genre^ bat they are of the same class.

Forty years after his father's dfibut, Tony Bobert-Flenry appeared in the Salon (1864) and continned there his father's line of work. His ednoation in the studio of Delaroche had given an impulse in

that direction, and a farther instruction from L6on (1838- ). Parit.*"'^ Oogniet had not deflected his tendencies from histor- M«d. '66, -e?. '70. ieal genre. He followed his father too in receiving L*Hon!*"^/^ distinguished awards, winning with The Last Day of M«d. lit ci. '78 E. u. Corinth the Orand Medal of Honor in 1870. This was Of. L. Hon. -84. gelccted to illustrate French art in the Luxembourg as well as in the Universal Exposition of 1878.

It represents the entrance of the Gonsiil Mtunmius into Corinth the third day after the Battle of Leuoopetn (Livy ii. 15) when, after pillage, the city was destroyed to the soand of tnunpetB. Nude women and children implore the statoes of the gods, as the legions march on and the smoke of rain rises.

This was preceded at the Luxembourg in 1867 by his Old Women of the Piazza Navona. Bobert-Fleury has shown marked talent for affairs as chairman of the committee of organization in 1881 of the Society of French Artists to which the management of the Salon is now entrusted. The partial list^ Boman Oirl ; Child Kissing a Belie (1864) : Warsaw on April 8, 1861 (1866) : Danaids (1872) : Charlotte Corday in Caen (1874) : Mazarin and his Nieces (1873) Leda ; illus- trates his two lines of work besides portraiture — history and genre.

Adrien Moreau, a pupil of Pils^ falls into the class of historical Adrian Moraau geure^ which hc, howevor^ paints with a humorous as

M»d. 3d d. -^r veil as a skilful touch. A few of his subjects are  :

End of a Masked BaU (1874) : Jolly Crow (1876): Wedding in the Middle Ages (1876) : Gypsies of Grenada ; Minnet (1878): In the Spring (1886).

But an older painter^ a pupil of Delaroche^ H. Vemet, and N. Bobert-Fleury^ Comte^ is called by Hamerton the most perfect pi»rr» chariM comt» pai^^tor of historical incident in Prance." By an infu- (1823- ), Lyons. fidon of historical interest into common events he makes ^*ci/4!55.' ^' *^® lowliest, one might almost say lowest, incidents

3d ci. '67 E. u. vivid historical pictures, except that his treatment is on L. Hon. '57. ^^ principlos of gcurc rather than of classic painting.

Such are Gypsies exhibiting Dancing Pigs to Louis XL (1869), and even ^^ rat-catching, which his Becreation of Louis XL when Sick (1863) really is. Oomte not only elevated this subject by historical association with that king, but setting aside the theory of the tradi-

348 A HISTORY OF FRENCH PAINTING.

tional historical school which required generalized and restrained effects and permitted reflections only so far as necessary to define the relatioius of objects^ he glorified it by the genre treatment, which allowed him to giye it eagerness of expression and to illuminate it by reflected lights until it became a marrellous instance of perfect sunshine in painting.

For delineation of delicate shades of character, especially its foibles, and for power of technique, though generally not painting pictures of smaU dimensions, a number of genre painters — of whom Yibert and Heilbuth are especially prominent, though Heilbuth has an eminent and charming landscape talent as well — ^fall into the general class with Meissonier.

Yibert was a pupil of the £cole des Beaux- Arts and of Barrias. His strongest title to admiration is his wonderful power of humorous j««n Georges Yibert characterizatiou and satire, for which he commands a (1840- ). Parit. pleased attention and enduring impression. But he 2d ci. '78 E. u. combines an excellent technique with this faculty. He L. Hor». -70. surrounds his characters with the most delicately

painted accessories ; Oriental rugs lie in artistic harmony with wall hangings ; and ijl forms of bric-&-brac are so related that they express the special delight of the artist in them ; around these he gives well expressed space, light, shade, and perspective successfully treated, and crowns all with the faces, in which are depicted not only the emotions necessary to the moment, but a suggestion of the whole character. He first exhibited in 1863, and for the four years follow- ing, saw the pictures in which he was following his predilections for the grand style accumulate in his studio. He then yielded to the popular demand for genre, produced with great success his Boll Call after the Pillage, a humorous satire, and was decorated at thirty years of age. There is much story" in all his works. A few principal ones should be described in detail :

In the Roll Call after the PiUage tipey, swaggering men laden with booty form a zig-zag line before their captain, and one staggers oat of the ion of the sign of the Lion and Host, the door broken from its hinges, with a decanter in one hand and a pitcher in the other, while from his open mouth comes a drunken halloo. The Cardinal's Menu represents a cook surrounded by the provisions for a feast» awaiting the Cardinal's choice. In the Committee on Immoral Books, two monks of fine embonpoint are burning condemned books  ; but they read them first They sit absorbed, their faces full of amused interest, one unconscionsly still holding the lifted tongs, with piles of books around unheeded and yet to be inspected. Schism in the Church represents in the luxurious surroundings of the Episcopal Palace, a cardinal and a bishop sitting back to back in an emphatic manner  ; a fierce scowl is upon the countenance of the bishop, who faces the spectator, and the

THE NINETEENTE CENTURY. 349

very back ot the rATdinal epeaks wrath. Heavy books with plaoes marked, lying upon the floor face downwards, tell of disenasion; and decanters and glasses sug- gest the preyiouB friendly interoonrse.

The most Bafcisfactory form of Yibert's work is that in which the sub- ject giyes opportunity for both satire and esteem ; when a double picture, as it were, is offered.

The Holy Gollationy or Fasting, represents a bishop feasting with an epicnie's Joy upon all conoeiyable delicacies, fine fruit on a cooler at hand giving further promise for the time of dessert ; a young priest partaking only of the aroma of the msal stands by reading to the feaster in genuine earnestness. The Returned Mis- sionary's Story is a most impressive picture of this kind. It is full of the deep sig- nifioance which Vibert usually puts between the lines in his works. The earnest worker for the salvation of the souls of his benighted fellow men, full of simple faith, is relating to the church officials incidents of deep interest to him. They, sur- rounded by luxury, strongly contrasted with his supposed usual environment, show by their faces full of derision and amusement * at his earnestness, that to them religion is a sham, the salvation of souls a perfunctory work.

One picture of Yibert's, A Sacred Concert of Monks, has no levity and no satire. He painted for the Salon of 1878 The Apotheosis of Thiers. For awhile, Detaille assisted upon this, but learning that Meissouier wished this subject to be reserved for his own brush, DetaiUe's friendship for that artist, his master, led him to cease work, Vibert, however, continued, and the picture became celebrated both for its subject and its treatment The dead body of the statesman, represented as of noble expression and bearing the Gross of the Legion of Honor, lies on a bier, at the foot of which is France, a noble woman in weeds, weeping, and at the head an allegorical figure of ^'Olory in Greek costume.

Vibert, with Louis Leloir, Worms, Beme-Bellecour, and Zama- cois the Spaniard, forms the band of five artists who originated, in 1867, the Society of French Aquarellists, and to him as its presi- dent more than all others its success is owing. These artists had a little household at Montmorency, when Fortuny's water colors exhibited by GK)upil aroused them to the excellences of that art, and after many attempts they achieved a success, such that at the end of the season Vibert sold to Ooupil seventeen drawings.' This society bears an important relation to the art of the time, as it estab- lished a higher standard of execution than the Salon  : at the same

> This picture brought 925,500, March, 1880, at the Morgan sale, New Toik. It was bought by Mr. C. P. Huntington, of New York.

• But for the moderate sum of 260 fnmcs each.

850 ^ HISTORY OF FRENCH PAINTING.

time the impressionists were condemning that as being too seyere. Neyertheless Dor6 was an honored member^ and Harpignies also, who had been rejected at the Salon of 1868. Manef s delicacies of execution enabled him also to command membership with the aqua- reUists while still of the condemned impressionists. De Nenyille, DetaiUe, Heilbath, Eugdne Isabej, Jacque, Jolien Le Blant^ Henri Barron, Louis Engdne Lambert, were other members. From the five closely associated in one domicile, classification by style and character of subject will separate Beme-BeUecour, to take military rank with his confreres ; but Oheyilliard claims the nearer relation of more fully sharing with Vibert his spirit of work.

He is eyen more giyen to reproduce the humors of church ofBdals than Vibert, but his work has a less biting sarcasm  ; he

usually treats of pleasantries, and his wit, keen but

oiir* t**FrMLVtt ™^«^ ^^^^y is ^"^^^^7 appreciated by the class upon

which it is exercised. Like many another he worked some time before finding the field of his success, and then it was incidentally discoyered. He was entertaining at his residence at Barbison, the iyy coyered cottage sacred to artistic memories, where Bousseau liyed, suffered and died,* an artist who had brought with him a priesf s costume for the draperies of a picture. Oheyilliard begged him, when arrayed in it one day, for a sitting. The picture was called An Easy Conscience, and through an English dealer was purchased by the Prince of Wales. Orders soon rained upon Ohe- yilliard, but no one wanted at his hands anything but priests. Perforce he became a painter of the clergy. Quiet humor, a real originality of perception, and a correspondingly subtle rendering, constitute the excellence of his pictures. They are attractiye, com- manding attention, howeyer, by some suggestiye trifle, and demand only that we be amused with, or at their subject, as, for example, The Salutation, in which a priest simply bows yery ceremoni- ously and, with great good humor on his face, makes a yery pleasing picture  ; or. The Mistake, which depicts the disgust of a priest who has found upon the door-step, instead of the orthodox paper, a radical sheet which he takes in his finger tips and holds at a distance. Though bom in Italy Oheyilliard was of French parentage and came early to Paris. Picot was his first instructor in art, but he entered the Beaux- Arts in OabaneFs class of 1863. His first pictures, some- times landscapes, sometimes richly-costumed antique figures, were

> CheTiUiard*8 pictures of that period have for backgroonds the pictureeqiie oornerf of the house and garden of Roosseaa.

THE NINETEENTH CENTURY. 861

raiher oonyentionaly KqA though of ezquimte flniflh, were without the wit and originality that have given him saooeas in his later olass of gabject& He now liyes in Paris, and says, in allnsion to his sur- ronndings of priestly appurtenances, like the cur£s I paint so much/' writes Henry Bacon.

Heilbuth's susceptibility to pictorial impressions of all kinds has given him a facile and sincere rendering through various changes

of his field of subjects. At first he painted

Ferdinand Hailbuth * i j. .

(Contomporary). Hamburg. gcuro sccnos 01 thc Sixteenth ccntury, but sub- M«d. ad ci. '57; Rap. '59, 'oi. sequcutly hc spcut scvend years in Bome, and

L. Hon. '6i I Of. L. Hon. *8i. ,«  t»«  i aa j^^a^ •.•*

there his brush was attracted to the pictonal qualities of the gay coloring and unusual characteristics presented in tiie streets of papal Borne, and by his many pictures of its church- men, became known as the painter of cardinals, though Yibert might well dispute the title with him* He is also a painter of land- scape of fine and tender treatment, in which he shows great harmony of softened tones, and in his figures he reveals a subtle observation of life and manners. In his early works the most trifiing subject, even costume, became important under his true sensibility to pic- torial qualities.

His pictures of the streets of Bome have proved a fortunate embalming of an interesting presentation of life, which immediately after, by the transfer of political power from the church to the king, and the consequent disappearance of the varied paraphernalia of the church from the daily scenes of the city streets was rendered thence- forth impossible.

From 1852 to 1863 his genre, chiefly scenes in artist's biography,

approximated to historical painting, for which his large treatment

was adapted. Among his works may be cited  :

1897, Titian the Younger with his Lady Love (Baven6 Gallery, Berlin) : 1869, Looa Signoielli by the Dead Body of his Son : 1861» Watteau and his Sweet- heart ; Abeolution in St. Peter's and the Mont-de-Pilt^ (Luxembooig). In the Fields ; The Riyerside (Mr. William W. Astor, New Torlc) ; and The Seine illustrate his landscape : and the Cardinal Entering his Carriage ; In his Bminence's Wait- ing-Boom ; and the Ante>room of the Vatican, his Roman scenes. Catechising the Children is a scene on the Pindo. A gronp of white-frooked boys in their daUy walk, superintended by their master, are met by a cardinal in brilliant red to whom it occurs to test their knowledge of the Catechism. Some are crestfallen at their faUures, some triumphant at their successes, some are being snrreptitioasly coached by the master. Subordinate groups, one of children sail- ing toy-boats around a fountain, one of a mother and nurse with young children, show the incidental character of the meeting. The management of the color is charming snd the composition most easy and gzacefuL

862 ^ HISTORY OF FRENCH PAINTING.

A Prossian by birth, he could not take anns against PariSy the city of his affections and adoption, and daring the Franoo-Pmssian Wai' he fled to London. But it was only to return after its close and make himself legally a Parisian and be welcomed as such by warm friends in France, with whom he now is placed in the gallery of living French artists in the Luxembourg.

The *^ dainty Worms and Yibert are alike in talent. On the basis of his Jewish origin, it has been asserted by an ingenious and . . ,„ eloquent writer that Worms's talent is a

(183a- ), Parit. *^ modem outburst," an Arethusan fountaiu,

M»d. '67. '68. -69; M»d. 3d ci. '78. of a line of inheritance continued through

generations from a far distant procreation of Eastern source, then unseen and unknown, ** now finding expression in his opulent imagination and glittering fancy/' But whatever its relation to the past, it is in such accord with modem tastes and enthu- siasms that collectors eagerly demand its productions. Of a family of small Jewish shop-keepers, he became shop-boy to a draughts- man, then a draughtsman himself, for L^Illuatration and other peri- odicals. He exhibited in 1852 The Country Forge and A Dragoon Making Love to a Nursery Maid. He has made six extensive journeys for study into Spain. But his eyes were formed for different sights there from the bloody one which Begnault found in the silent, yet speaking, Alhambra or the landscape range of Dor6. Worms presents with truth and ingenuousness the humble village life that, uninflu- enced by ^' progress,^' still retains its original manners. But he has another class of pictures, in which there is a vein of underlying satire or comedy akin to Vibert's (though not exercised upon the clergy), as seen by his works  :

Anested for Debt (1861): Fountain in Buzgoe; Laval Museum (1868) : Tayem in the Astorias  ; Bepartuie ol Smugglers (1865) : Kitohen in Valencia ; Race in Valenoia (1866) : Soene in Old CJastiie (1867) : Bomanoe ft la Mode (1868), Luzem- bouig: Sheep Shearing in Granada (1872) : Sensational News; A Vocation (1876): Dancing the Vito in Granada (1876) : Public Writer (1882) : Politicians (188S). In one, Expectations from Our Aunt, the central figure, absorbed in her own ailments, is the object of most obsequloos attention from relatiyes: a niece making tender inqniries, a nephew serving her chocolate, all of whom regard with jeidousy a priest, who, under the favor of his vocation, sits complaoentlj taking snufl, and all in turn are looked upon with maleyolent eye by the servitor, who also has hope of a legacy.

Lonis Leloir continued the artistic tendency of a father, mother, and two grandfathers, which seems to have culminated for its choio-

THE NINETEENTH CENTURY. 863

est growth in his own talent, and he may be classed with artists of

^ . . delicate ezecntion of delicate fancies. A

(•843.'84), Parit. Homer by his father, Jean Baptiste An-

M«d. '64, '68, -to; ad c». '76. gQgte (1809-- ), an historical painter, is

in the Luxembourg; his mother, H61oise Colin, was a miniaturist and aquarellist, and his maternal grand- father has left copies of the old masters. In his later works Leloir resembled Meissonier. Having entered the competition for the Prix de Bomo, he received the second prize at the age of eighteen, and at twenty he executed religious paintings and antiques drawn from Virgil, exhibiting A Massacre of the Innocents in 1863 which was bought by the state  ; at twenty-one, he received a medal for his Daniel in the Lion's Den  ; and at twenty-two, his Struggle of Jacob and the Angel was also purchased by the state. He then spent a charmed period amid the treasures of Italy, and returned, deeply imbued with the ideal, tc continue his artistic pursuits under all the advantages which the liberty and enlightenment of the third Bepublic afford artists in France. The Superintendent of the Fine Arts gave him the subject. Baptism of the Barbarians on the Canary Isles, an incident in the conquest by Bethencourt. It won for him a medal in 1868. After that he painted genre chiefly. The BaiUiement of 1870 made him Hors Concours. He became one of the most attractive and most ingenious of his class of very French artists, a painter of Parisian society, of delicate, fanciful style, and withal a very personal painter. From the instruction of his father, who followed David in design, and his own thoroughness, he was long held to severity and accuracy of form ; but he later burst forth, a butterfly, and, in the confidence of wings, gayly fluttered into every form of the ephemera of modem poesy; everywhere showing, moreoTer, a great feeling for color. Hi» Zephyr, an airy figure supported on a tree's blossoming twig, with wings large enough to give security to any proposed flight, has all the grace of which such fairy motive may be made the occasion.. For his Temptation of St. Anthony ' (1869) he has given most charming forms to the two sirens who torment the holy man. It is one of his greatest works. His Grandfather's F4te (1875) is a spirited composition of a nobleman's birthday in the time of Henry lY. It is full of pleasing details, containing fifteen figures in the costumes of that period. He had, in addition to his delicate aquarelles, just succeeded with his etchings, when, saying '^ Life is too short for all," he died, January 28, 1884. He was a man of tender friendship  : that

> Sold at the Johnston Sale, New Tork, 1876, for $2,000. 28

354 A HISTORY OF FRENCH FAINTING.

with Hector Leroux, " the painter of yestals/' being of conspicuous faithfulness, in which he was always more solicitous for Leroax's honors than his own.

His brother, Maurice Leloir, ten years his junior, thorouj^hly grounded by him in drawing and the fundamentcd principles of art^ is his follower, and, though of a narrower range of work, has indiyidnal pictures which are not inferior to his brother's.

The eminence as a portrait-painter of Garolus-Dnran, a painter of genre and portrait, does not prevent his being classed among genre

ch.ri.. A«g«.t. femii. o««n pwnters, as portraitists are better classed

(eaiiad Caroiut-Duran). by their othcr qualitics, in France, at least,

m!^; '^. "^'70 ; .6 ci. .78 E. u. ^^^^^^ ^^^^ "^'^ P**'^*^ portraits on occa- L. Hon. '72. sion, and what we denominate the profes-

Of. L. Hon. '78. Mod. Hon. '79. gioual portndt paiutcr " is unknown. Dnran

has a just foundation of realism, a touch even of impressionism, and a very acute perception of the modem ideal in his style. In forming it he had the discipline of a poverty occasioned by the death of his father in 1855, who had then just removed the family to Paris. He had begun drawing so young that he practised an art of which he had never heard, demanding a pocket in his little robe de chambre for pencil and paper, says Olaretie. He had had a severe course in draw- ing and had been '^ pupil of Sonchon,"as he now signs himself at the Salons, when he was setting out on foot for Marseilles, en route for the army in Algiers, that forlorn hope of struggling Frenchmen. But upon being offered a room in Paris with rent prepaid for two years he took up life there again, sometimes with a penny's worth of bread for breakfast, sometimes with none, until one day, found ill, helpless, and alone, he was taken by a friend and cared for at his own quarters. He soon returned to Lille and obtained in 1859 a pension of twelve hundred francs for instruction at Paris, and he subsequently gained, notwithstanding some opposition on account of his overleaping of tra- dition in art, the pension of Lille of two hundred francs per month, established by Wicar for study at Bome. The Assassination of 1866, now in the Lille Museum, was his first success. He then spent six months studying art and nature in Spain. His wife has taken a third class medal at the Salon (1875) for A Portrait, one of their two little daughters, whom the father has also modelled in bronze, while the mother he has placed in the Luxembourg as The Lady with the Glove (1869), a full length life size portrait. For himself, in the last twenty years his history is but a succession of triumphs.

The impression left by his art is that of perfect mastery within its

THE NINETEENTH CENTURY. 855

own limits. Light which is necessary to the management of color, and color which he loyes for color's sake, he commands to a most nn- nsoal service. He makes a hue repeat itself in slightly varying tints, red npon reds, green upon greens ; he mingles the varieties of colors in their greatest intensities, and the resultant is vivacity of style. He has sometimes been accused of seeing in his portraits the costume before the head, but this is disproved by the fulness of life which he makes his tones all subserve ; life remains chief. His art has the modem accent of what he calls the '^ intimes of life ; that is, its type is based on the realistic experiences of the individual. He gives importance, and with great solidity and surety of touch, to the minute accessories of dress in all its mundanities and modernities ; he makes arranged portraits in which glitter the lustre of the whites, the fire of the reds, the gold of the yellows, the lazulis of the intense blues, in which satins shimmer and velvets tremble, says an enthusiastic admirer, Olaretie. His own words, in his lessons or '* talks, given in the Atelier Duran, show that he holds the principles and hopes of the new generation understandingly and comprehen- sively grasped. These attract large numbers of students, especially of the English and Americans. Two portraits, which are properly pendants to each other, illustrate his treatment ; La Femme Bousse, or The Bed Haired Woman, a portrait (1872), is thus described by J. Olaretie :

• • Upon a bine background, with the green refleotionB of the sea, of which the

note oonesponds with the green of the carpet, the figure of Madame, seated on a sofa of tobacco-colored satin, detaches itself with an unheard-of manve color. The heady of sarprisiog intensity of life, borrows a singalar and unexpected light from a cherry fan which she holds in her hand. This head is red and common, but nnforgetable. . . . The mauve satin of the dress relieved with black and velvet, the bow of yellow silk, the teeth, the grey Sudde glove which loosely en- velopes the left arm, all of these details of an astonishing ensemble, only serve to make the light flow and rise to this head, which literally lives, of which the noa- trils move, and which is as powerful and impressive as a Bubens. It is the typical modem portrait, showing the violence of our colors, the height of our civiliza- tion.'^ Its pendant is the opposite of this violent gamut. Yet all in It expresses an intense life. The colors are silvered, the light softened. A woman of soft, pale flesh, smiling, clothed in gray silk, holding a vervain in her hand, tarns towards the observer.

There is a movement and transparency in this artist's work that gives a feeling of reality. Of portraits he may be considered to speak ^' ex cathedra," for, by the award to him in 1879 of the Medal of Honor for the Portrait of a Lady, he had the official seal set upon his

856 ^ HISTORY OF FRENCH PAINTING.

work of this class. It was a lady in a white satin dress, oyer which a fnr cloak falls, managed with great originality in tones of silver and brown, by which the flesh tints of the face are aocentnated. He has been the accepted portraitist of the woman of society, whom he is able to reproduce in her charms and weaknesses, in all her varying phases. His works for twelve years following 1869 were almost entirely portraits of women. Since, there has been an inter- val of genre, and in 1878 he execated upon the ceiling of the Luxem- bourg a Gloria of Maria de' Medici.

In his teaching, individuality as well as realism is plainly evident Having established the general principle that painting is not an imitative art, not a literal translation, but an interpretation of nature and thus of unlimited individuality, for this interpretation can be made only by making use of one's own experiences and aspirations  ; also that, if '^ Tradition," or the precedent of the masters, is ever adopted successfully, it must be " Tradition in the direction of one's aspirations," as that of Baphael by Ingres, he says : *

«  This applies to portraits as well as to compositions, and the tnie portrait painter interprets characteristics, temperament, and manner of his models, with a perfect self-abnegation, which Lb the only difference between portrait and oomposi- tiouK Thus, in the portraits of Holbein, Velasqnes and Rembrandt, the three greatest of portrait painters, one always feels as if he [the observer] had been long acquainted with the model"

Of other subjects, he teaches  :

<*A subject may be treated heroically or familiarly; in the latter case the artist enters into the life of the personages as human beings, . . . taking account of their impressions, their joys, their sufferings. The heroic manner, on the contrary, expresses but an instant of their lives, when raised to an exceptional pitch, when, as you might say, they are deified, so much do they seem to be ab- solved from the daily necessities of humanity. For this very reason they lose the sympathetic charm we find in beings living, thinking, and suffering like ourselvea Thus, in treating The Flight into Egypt, picture to yourself the incidents of the departure, imagine the scenes at the morning fires, in the glimmering twilight, in the moonlight, or in the bright light of day ; the crying, the laughing, the nursing of the child. This is the only way to find charmingly intime scenes. . . . The travellers have rested in the shade as you might have done, they have had a crowd of emotions, such as you may have felt in your journeys. Call upon your remembrances and apply them so that the personages may be before yonr eyes, moving, walking, resting, forming a whole with the nature that surrounds them, and of which they reflect the influence. . . .

" That which will make celebrity for us will not be our cleverness, but perfai^K a little ray of personality."

> Notes taken in short-hand by one of his pupUa.

THE NINETEENTH CENTURY. 857

He has painted landscape in A Morning at Trouyille, and, to prove himself eqnal to the academic school in the nude, he painted his Dew, which may be considered an illustration of the simile, fresh as the dew. The light is ^'en plein air/' coming from all directions in the most modem treatment. His Future Doge (1881), is an infant of Venice of the sixteenth century  ; and La Gloire, a view of the dead bodies and scattered limbs after a battle of 1870 in which the artist's brigade had had part. He also touched the religious in his Eyening Prayer of 1866 and St. Francis of Assisi of 1868.

Behind these figures in high relief of painters of genre, is, to con- tinue the simile, a background damascened with forms significant if less apparent. The large number of artists who, having early adopted the tenets of classicism, slowly readjusted themselves during the period of romanticism to the changing current, and, in the course of their long lives, after Meissonier and O^rdme had placed that once condemned class of art on a high level, became enthusiastic and suc- cessful painters of genre, bears eloquent witness to the force of that high wave of genre infiuence. Portraiture as a painting of the actual and the unremote, formed a direct path to this result, and no narrow way, but one into which flocked former classicists, pupils of David or of his pupils, Oirodet, 06rard, Oros, and Ingres, pupils whose brushes won for them honors in their earlier as well as now in their later style. Through portraiture they arrived at the same result which their sons, who most frequently became the pupils of Delaroche, reached through that master's transition from history to genre. From the course of one, that of all may be learned. Oharles Marie Dubufe (1791-1864), the father of l^douard, was a pupil and follower of David. He received a first class medal in 1831, and a decoration in 1837. A partial list of his works furnishes an epitome of the changes effected in art standards from David to the younger Dubufe.

1810, A Roman Dying of Starvation with his Family rather than touch ailTor entrusted to him : 1812, Achilles taking Iphigenia under his Protection : 1822, Psyche Carrying to Venus the Box of Beauty : 1881, The Silver Merchant, (Medal Istcl.); The Message; The Young Alsadenne ; Malvina; Young Wife in Giief; Two Young Sisters (not one of these of the classic requirements): 1888, Don Juan; Scene of 1814 ; Young Girl Returning from Market ; Youth Reading a Letter ; Little Girl in Prayer ; and sixteen portraits. He exhibited up to 1868, the year before his death, inclusive, in the annual Salons, one hundred and thirty portraits, many of them of the nobility of France.

Others well known are :

Charles Louis Badn (ld02-'59): medal 8d class '44 ; Sd class *46 ; passed from a Dissolution of Parliament by Louis AlV. to A Girl with a Lizaid. — Joseph

358 ^ HISTORY OF FRENCH PAINTING.

Beaume : 80 years, from 1796-1885 ; papil of Gros ; medal 2d class 'di : Ist cIam "27 ; Legion of Honor 'SB : passed from the death-beds of royalty, as of Henry HI. (1822); Anne of Austria (1885); Charles V. (1888): and the national battles in Groe* style, through Childhood of Sixtus V. (1889; to, since 1870, the practice of genre. — Hippolyte Bellange (1800-'66): pupil of Gros ; medal 2d class '24, '55 ; Legion of Honor '34; Officer '61 ; exhibited in every Salon from '22 to '66 ; he took up Hor- ace Vemet's classes of subjects, battles and incidents of the soldier's life, or mili- tary genre. — ^Ren6 Theodore Berthon (1776-1859): pupil of Darid; Ijcgion of Honor; a most talented artist of his school who never proceeded farther on this route than portraits, of which three appeared in his last exhibition, the Salon of 1841. — Antoine Beranger (1785-1867): medal 8d class '89; 2d class '40; l^egion of Honor '41 ; an artist of ability, who was hastened in his development of genre by his many years' employment on porcelain at Sevres, to the celebrity of which his skill greatly aided ; his two sons, £mile (1814), medal 8d class '46, 2d daas '48, and Charles (1816-'58), medal dd class '89, 2d class '40, a pupil of Dehuoche, were developed into painters of genre, and a daughter, Susanne Estelle (Madame Apoil) into a skilful painter of flowers and fruit. — Jean Claude Bonnefond (1770- 1860), Lyons : pupil of Revoll and, after study in Italy, his successor as director of the Art School of Lyons. — Alexandre C^minade (1788-1862), Paris: pupil of David ; medal 2d daas '12; 1st class '81 ; Legion of Honor '88.— Louis Charpentler (1811- ), Paris: pupil of GIrard and (]k>gniet and himself for twenty-six years professor at Versailles ; medal Sd class '41 and '51. — ^Fran^ois Barth§lemy Michel £douard Cibot (1799-1877), Paris : pupil of Gu6rin, Pioot, and lkx)le des Beaux- Arts; medal 2d class '86  ; Ist class '48; rappel '59 and '68 ; Legion of Honor '68 ; also painted landscape. — Joseph Desire Court (1789-1865), Bouon: pupil of Gros; medal 1st class '81; 2d class '55: Legion of Honor '88.— Alexandre Debaoq (1804-'o0), Paris : pupU of Gros.—Auguste Hyaointhe Debay (1804-'65), Nantes : pupil of Gros  ; Prix de Rome '24 ; medal 8d class '19  ; 1st class '81 ; Legion of Honor '61. —Jean Baptiste Delestre (1800-'71), Lyons : pupil of Gros and a writer on art, who excelled as a teacher. — FrauQois Delorme (1788-1859), Paris : pupil of Girodet; medal 2d class '40; Legion of Honor '41. — ^Paul £mi]e Destouche (1794- 1874), Dampierre : medal 1st class '19 and '27 ; from being a pupil of David, Guerin, Gros, and Girodet, he became chiefly noted for his genre. — Jules Alexandre Duval Le Camus (18l4-'78), Paris: Legion of Honor '59. — Pierre Duval Le Camus (1790- 1854), Lisieux : pupil of David  ; medal 2d class '19, 1st class '27. — Louis Jules Etex (1 810- ), Paris: pupil of Lethidre and Ingres; medal 2d class '88 and '88.— Jean Henri Joseph Forestier (1787, Santo Domingo— 1874, Paris); pupil of both David and Vincent ; Prix de Rome '18 ; Legion of Honor '82. — Jacques Victor Fro- ment (1S20- ), Paris  : Legion of Honor 1868 ; mingled genre with landscape. — Eugene Goyet (1789-1857) : a pupil of Gros and son of Jean Baptiste Goyet. — Louis Hersent (1777-1860), Paris : 2d Prix de Rome 1797; Legion of Honor 1819  ; Mem- ber Institute "28  ; Professor '25; is a conspicuous example of this class; during the classic period when he was honored as a member of the Institute his works were from Greek mythology, later they were portrait and historical genre. — Pierre Jules Jollivet (1794-1871), Paris : medal 2d class '88  ; 1st class '85  ; Legion of Honor '51 ; pupil of Gros and De Juinn.— Louis Eugdne Lami (180(^ ): gained early renown by water oolor scenes of fashionable life  ; medal 2d class '65 ; L^on of Honor '87; Officer '62.— Charles Joseph Iflmile Loubon (180^'68), pupil and friend

THE NINETEENTH CENTURY. 869

of Qranet ; medal 8d class '42 ; Legion of Honor '55 Exposition UniTeraeUe. — Charles Laurent Mar^ohal (1801- ), MetK : a pupil of J. B. Regnauit and has had many pupils himself ; medal 8d class '40  ; 2d class '41  ; Ist class '42, '55  ; Legion of Honor '46 ; Officer '55.— Alexis Perignon (l806-'82), Paris : pupU of his father and of Gros ; medal 8d class '86; 2d class '88 ; Ist class *44 ; Legion of Honor

• 56 ; Officer TO  ; excelled hi portrait.— Fleury Fran9ois Richard (1777-18o2X

Lyons : pupil of Dayid  ; Legion of Honor '15 ; painter to the king '25. — Louis Antoine Leon Ri§sener (IdO^-TS), Paris : pupil of his father H. F. Ritener and of Oros; medal 8d class '86; 2d dass '55, '64; Legion of Honor '78.— Louis £dou- ard Rioult (1780-1855), Somme: pupil of Dayid and Regnault; medal 2d class '44 ; 1st class '88; 22 portraits by him are in the Versailles Museum. — Gillot Saint ^vre ( -1858), Bault-sur-Suippe : medal 2d dass '24; 1st class '27; Legion of Honor '88.— Madame Marie Bve Alexandrine Verd^-Delisle (1805-66) pupil of Oros.

For the last eighteen years, the tendencies of the age to reality, the love of tmth for truth's sake, the intense sympathy with the labor- ing classes, so long preached by Victor Hugo, bat stifled by the goy- emment until the greater freedom of the Third Republic, haye been reflected in genre subjects of laborers begrimed at work, rather than in holiday attire. The same tendency is seen in the later portraiture, in which the chosen garb is the eyery-day dress. Things as they are, without softening or pretence, is the sentiment of the age, and is reflected in this art. The stratum of genre immediately preceding this, contemporary with the eai'ly semi-classic work of the idealized peasant girls of Hubert and Bouguereau, consisted of the incidents of the lady of society, as Toulemouche's Day after the Ball (1864) ; Bose ; Loye Letter (1869) ; and J. E. Saintin's subjects of such suggestion as The First Engagement and, if of work at all, it was The Washer- woman of Fine Linen, or Embroiderer, subjects still continued by that group of artists into the current art of scenes of labor. The later class, howeyer, are not without their poetic sentiment, surely not as represented by Boll in the Stone Masons' Yard of 1884.

Of the younger genre painters are  :

Henri Charles Antoine Baron (1816- ), Be8an9on : pupil of Gigoux ; medal 8d class '47, '55, '67 Exposition Universelle  ; 2d class '48 ; Legion of Honor '59. — Faustin Season (1821-'8:2), D61e : pupil of Decamps, Gigoux, and llcole des Beaux-Arts ; L^on of Honor '55. — Alcide Boichard (contemporary), Bourges : a skilful painter of modem life. — Madame Henriette Brown (Sophie de BouteiUer, married (1858) M. Jules Desaux, Secretary to Comte Walewski; assumed the name Brown from a maternal relative (1829- ), Paris  : pupil of Chaplin ; medal 8d class '55, '57, '59 ; 2d class '61 ; 8d class for engraying '68 ; she paints many scenes of religious institutions, and some of Algeria and the East. — Jean Francois Bremond (1807-'68), Paris : pupil of A. Gouder and Ingres ; medal 2d class '88 ; rappel '68.— Amaud Cambon (contemporary), Montauban  : pupil of Delarocheaod

860 ^ HISTORY OF FRENCH PAINTING,

Ingres; medal 2d olan '68; 8d olan '78.— Joseph Garsud (1821- \ Clmiy: papil of Abel de Pujol and C. L. Mnller ; medal 8d class '69 ; 2d class '61 ; lappol '68 Legion of Honor '67. — Thtebald Ohartran (contemporarj), Besangon : papil of Gabanel ; Prix de Rome '77 ; medal 8d class '77 ; 2d class '81.— Pascal Addphe Jean Dagnan-Boayeret (contemporary), Paris : pupil of QMme ; medal 8d class

• 78; 1st class '80; Legion of Honor '85.— Pierre Louis Joseph De Gouiiick

(1828- ), M^teren: pupil ofCogniet; medal '66, '68; 8d class TB.— Earnest Delahaye (contemporary): pupQ of GMrdme ; medal 8d class '82; 2d class '84. — Charles £douard Delort (1814- ), Nlmes: pupil of Gleyre and Mrdme ; medal 8d class '75  ; 2d class '82.— Edmond Louis Dupain (1847- ), Bordeaux  : papil of Gabanel and Gu^ ; medal 8d class '75 ; 1st class '77. — Thtephile Bmmaniiel Duyerger (1821- )  : medal 8d class '61 ; rappel '68 ; medal '65.— L&m ¥ukvT^ (contemporary), Paris: pupil of G^rdme and Boulanger ; medal 8d dass '84. — Louis Stanislas Faiyre-IXufrer (181S- ), Nancy : pupil of Orsel ; medal 8d dass '51 ; rappel '61 ; also known for restoration of Philibert Delorme's Diana of Poitiers, a ceiling in the Castle of Anet. — Jean Alexandre Joseph Falgui^ (1831- ), Toulouse: pupil of Jouffroy ; medal 2d class '75 ; a sculptor of fame and Member of Institute '82.— Henri Fantin Latour (1886- ), Grenoble : pupil of Lecoq de Boia- baudran ; medal '70  ; 2d class '75 ; Legion of Honor '79; renowned for portraits. — Eugdne Faure (1822-'79), Seyssinet: pupil of David d' Angers and Rude ; medal '64; 2d class '72.— Francois Nicohis Atigustin Feyen-Perrin (1828- ), Bey-snr- Seille: pupil of Cogniet and Yvon; medal '65, '67 ; 8d class '74— Eugdne Feyen (1818- ), Bey>sur-Seille : pupil of Delaroche; medal '66 ; 2d dass '80; Legion of Honor '81. — ^fimile Friant (ocmtemporary), Dreuse: pupil of Cabanel ; medal 8d class '84 ; 2d class '85.— Nicholas Augusts Galimard (1818-'80), Paris: medal 8d class '85 ; 2d class '46.— Thtephile Gide (1822- ), Paris: pupU of Delaroche and Cogniet; medal 3d class '61; medal '65,'06; Legionof Honor '66; his history is of the nature of genre, as Louis XI. surprised at Prayer by his Jester (1877), and his genre chiefly scenes of life in Italian monasteries. — ^Fdix Henri Giacomotti (1828- \ Quingey: pupU of Pioot and ^)oole des Beaux-Arts; Prix de Rome, '54; medal '64, '65, '66 ; Legion of Honor '67.— Firmin-Ginird (1888- ), Pondn : medal 8d class '68  ; 2d class '74 ; a pupil of Gleyre ; has power in giving elegance and brilliancy to inconsiderable subjects.— The elder Glaize, the father, Auguste Barthflemy (1818- ), Montpellier: medal 8d class '42; 2d class '44, '48, '55; Ist class '45; Legion of Honor '55 ; an extreme realist ; pupil of the brothers Ddveria ; has treated successfully many mythological subjects, as Cupids at Auction (1867, Bdziers Museum), as well as genre, and is represented in the Luxembourg and many of the museums of France. — Jules Adolphe Goupil (1889-'88), Paris : medal Sd class '78, '74 ; 1st class '75  ; 2d class '78 Exposition Universelle  ; Legion of Honor '81 ; often paints trivial subjects, but they are well drawn and brightly colored, as Trying on a Dress (1864).— Luden Alphonse Gros (oontemponry) : medal '67  ; 2d class '76; a pupil of Meissonier ; foUows him in characteristic pictures in excellent drawing, as Pergolese in Vemet's studio (1880).— Gabriel Guay (contemporary), Paris: medal 8d class '78  ; pupil of G^rdme.— Alexandre Marie Guillemin (1817-'80), Paris: medal 8d class '41 ; 2d class '45, '59 ; Legion of Honor '61 ; added hunting scenes to genre. — ^Auguste Herlin (1845- ), Lille. — Felix Armand Heullant (1884- ), Paris : paints pleasing scenes of every-day life.— Alfred Louis Jacomin (1848- ), Paris: medal at Philadelphia (1876).—

THE NINETEENTH CENTURY. 361

Engdne Brnest Hillemaeher (1817- ), Paris: medal 2d class '48, '67 ; Ist class '61, '08 ; Legion of Honor '65 ; pnpil ol Gogniet ; follows sabjeots of Meissonier's genre, bat makes them episodes of speoiallj named famous men. — Ferdinand Hum- bert (184!^ ), Paris: medal '66 '67, '60; 8d class '78; Legion of Honor '78; pupil of Picot, Gabanel, and Fromentin ; paints finely treated realistic scenes of strong color. — Philippe Augusts Jeanron (1810"'77), Boulogne-sur-mer : medal 8d dass '88 ; Legion of Honor '55  ; Director Marseilles Museum '68  ; Correspond- ing Member Institute '68; he did great serrioe to art as Director of the National Museums, to which he was appointed in 1848 by Ledru-RoUin. — Jean Gustave Jaoque (1846- ), Paris: medal '68 ; 1st chiss '75 : 8d class '78, Exposition Uni- verselle  ; Legion of Honor '79 ; pupil of Bongnereau. — Aman-EJdmond Jean (contemporary), Cheyry-Gossigny: medal 8d class '88 ; pupil of Lehmann, Hubert, and Merson. — Theodore Jourdan (1888- ), Salon: professor of design in Marseilles School of Art.— Paul de La Boulaye (contemporary), Bourg : medal 8d class '79, At the Sermon (1879, Luxembourg). — Alexandre Lafond (1815- ), Paris : medal dd class '57, '61, '68; pupil of Ingres.— Maroellin Laporte (1889- ), St. Oeniez d'Olt; medal at Vienna '78 Exposition Universelle. — Charles Hippolyte fimile Leoomte-Vemet (1821-'74), Paris : medal 8d class '46, '68 ; Legion of Honor '64. — Jacques Joseph Lecurieux (1801- ), Dijon: medal 8d dass '44; 2d class '46 ; pupil in Dijon of Deyoege, in Paris, of Lethidre and llcole des Beaux-Arts (18dd-'a6).— The two brothers, the self-taught Addphe Leleux (1812- ), Paris : medal 8d dass '42; 2d dass '48, '48; Legion of Honor '55 Exposition Universelle; and Armand Ldeux (1818-'85), Paris  : pupil of Ingres ; medal 8d dass '44 ; 2d dass '47, '48, '57 ; 1st class '59 ; Legion of Honor '60 ; the former, presents the outdoor genre of Breton life in a charming landscape, with occasional Algerian and Spanish scenes, and the latter, more frequently, interiors in which he exhibits great power of light and shade. — Madame Madeleine Lemaire (contemporary), Paris : one of the large number of women who are pupils of Charles Chaplin, exhibits an extraordinary ability and softness of touch, a perception of pictorial qualities and a feminine grace. — Jacques Francis Femand Lematte (1850- ), St. Quentin: pupil of Cabanel and l)cole des Beaux- Arts; Prix de Rome '70; medal 8d class '78; 1st dass 70.— Eugene Leroax (1888- ): pupUof '<le pdre Pioot ;" medal '64 ; 8d class '73 ; 2d class '75 ; Legion of Honor '71  ; his The New Bom Baby (1864) is in the Luxembourg. — ^Felix Maurice Hippolyte Lucas (contemporary), Bochef ort-sur-Mer ; pupil of Pils and Lehmann  ; medal 8d class '84.--Charles Francois Marohal (1825-'77), Paris : pupil of Dr5lling and Dubois; medal '64, '68, '78; though thus out of competitions and being honored by his Martha Serving (1864) in the Luxemboui^ and his Alsace (1872) being often engraved and lith<^graphed ; having lost his eyesight in 1876, he com- mitted suicide.— Mademoisdle Julia Marest (contemporary), Paris : pupil of C. Chaplin and of Geroux. — ^Princess Mathilde, daughter of Jerome Bonaparte (1820- ), Trieste : pupil of Eugdne Giraux ; medal '65 ; paints genre in water color.— Louis Matout (1811- ), Renwez : pupil of art school at Charleville ; medal 8d class '58 ; rappd '57 ; Legion of Honor '57 ; his works are historical and mythological, and more frequently of the character of genre.— Constant Mayer (1882- ), Besan^n : pupil of Cogniet and of £cole des Beaux* Arts  ; Legion of Honor '69  ; has resided in New York since 1857.— Joseph Paul Mede (contemporary), Saint-Servan : pupil of Bonnat ; medal 8d class *86.^-

362 A. HISTORY OF FRENCH PAINTING.

£doaard Moyse (1827- ), Nancj : papil of DrGUing ; medal 9d claas "SS ; has painted many Jewish sabjects. — Celestin Nanteail-Lebosnl (181S-'78), Rome, of French parents: pnpil of Langlois and Ingres; medal 8d class '87 ; 2d class '48» '61; medal '67; I^egion of Honor '68.— Charles Nauteail-Gaugiian (1811- ), Paris: pupil of Ingres and Gleyre ; medal 8d class '40 ; 2d class '46. — Philij^w Parrot (contemporary), Excidenil : medal '68, 70  ; 2d class '72 ; 8d class TS Exposition (Jniverselle. — Femand Pelez (contemporary), Paris: pupil of Cabanel and Barrias ; medal 8d class '76  ; 2d class '79  ; 1st class '80.— Octave Penguilly- L'Harldon (1811-70), Paris : while passing his life in military aflairs» from whi(^ he retired on a pension in 1866, he was led to take up art by the admiration some of his pen and ink sketches commanded in 1886, and in a few years became Hors Cbncoors by the medal Sid class '47  ; 2d dass '48 ; Legion of Honor '61 ; Officer '62. — Charles Perrandeau (contemporary), SuUy-snr-Loiie: pupil of Cabanel ; medal 8d class '86. — hkm. fiazile Perrault (contemporary), Poitiers : pupil of Pioot and Bouguereau  ; medal '64 ; 2d class '76. — C!harles Henri Pille f contem- porary), Essommes  : papU of Barrias ; medal '68 ; 2d class '72 ; Legion of Honor '82.— Victor Florence PoUet (1811-'82), Paris : pupil of Delaroche and Richomme ; medal 8d class '45; Legion of Honor '56. — Charles Porrion (contemporaiy), Amiens : pupU of DrSlling and Ingres ; medal 8d class *44 ; Legion of Honor '84. —Jean Fnin9pis Portaels (1818- ), YilTorde  : pupU of Delaroche ; Prix de Rome '41 ; Order of Leopold '61 ; medal 2d class '65 : Director of Brussels Academy since '75. — Ben6 Princeteau (contemporary): pupil of &cole des Beaux-Arts ; medal 8d class '88 ; 2d dass '86.— Loms Prion (1845- ), Toulouse : pupil of Oibert and Cabanel ; medal '69 ; 1st class '74.— Engine Quesnet (1816- ), Paris: pupil of Dubufe ; medal 8d class '88 ; 2d class '48 ; Legion of Honor '78.— Victor Joseph Banvier (contemporary), Lyons : pupil of Jannot and Richard ; medal '65 ; 2d class '73 ; Legion of Honor '78 ; he idso painted landscape. — Augustin Th^odule Bibot (1826- ), Breteuil : pupil of Glaize  ; medal '64, '65 ; 8d class '78 ; Legion of Honor *78 ; he has a realistic style of genre and also paints history. — £douard Alexandre Sain (1886- ), Cluny : pupil of Valenciennes Academy. Pioot, and £oole des Beaux-Arts; medal '66 ; 8d class '75  ; Legion of Honor '77.— Jules £mile Saintin (1821^ ), Lem6  : pupil of DrSlling, Picot. and Leboucher ; medal '66, '70  ; 2d class Munich '83; Legion of Honor '77.— Gaston-Casimir SaintrPiem (1883- ), Nfmes: pupil of Jalabert and Cogniet; medal '68; 2d class '79; Legion of Honor '81 ; he also painted decorations in Cathedral of Oran. — Francis Tattegndn (contemporary), Peronne  : pupil of C. Crauck, Lefebyre, and Boulanger; medal 2d class '88 ; also in Munich same year. — James Tissot (1836- ), Kantes : pupil of Flandrin, Lamotte, and in his early work sought examples in the Dutch masters ; later has a studio in London ; medal *66  ; has sent no pictures to the Salon since 1870. — ^Auguste Toulemouche (1829- ), Nantes: pupil of Gleyre.— medal 8d class '52, '59 ; 2d class '61 ; 8d class '78 Exposition UniveraeUe ; liegion of Honor '70  ; he is a painter of the modernities of current life, delight- ing in silks and yelvets, and by his skill gives yalue to trivial subjects; as Cnri Papers (1849) ; First Step (1858) ; A Kiss (1857) ; The Lesson (1855), Nantes Museum. — Jean-Baptiste Jules Trayer (1824- ), Paris : pupil of his father and Legnien  ; medal 8d class '58, '65  ; he has The Pancake Seller (1866) in the Lux- embourg.—Jules Emmanuel Valadon (1826- ), Paris : pupU of IMlling, Cogniet, and Lehmann; medal 8d class '80  ; 2d class '86.— Paul Vayson (contemporary).

THE NINETEENTH CENTURY. 363

Gordes : pupil of Gleyre and F. Lanreiui ; medal 8d class '75 ; 2d class '79 ; Legion of Honor '8d.->£mile Yernet-Leoomte (18dl- ), Paris : pnpil of H. Vernet and Cogniet ; medal 8d class '46, '68  ; Legion of Honor '64.— H^g^sippe Jean Vetter (1820- ), Paris : pupU of Steuben ; medal 8d class '48, '67 ; 8d class '47. '48, '65; Legion of Honor, '55 ; his Moliere and Louis XIY. (1864) is in the Luxembourg. — ^Vincent Yidal (1811- \ (Carcassonne  : pupil of Delaroche; medal 8d class '44; 2d class '49; Legion of Honor '52.— Andr^-CTharles Yoillemot (1822- ), Paris  : pupil of Dr511ing and £oole dea Beauz-Arts; medal '70; Legion of Honor '70.— Achille Zo (1826- ), Bayonne : pupil of Ck>uture  ; medal '68 ; Legion of Honor '86  ; Curator of Bajonne Museum.

Among genre painters rapidly advancing to the dignity of Hors Ooncours are :

Alfred Pierre Agache (contemporary), Lille: pupiJ of Pluohaut and Cotaa; medal 8d class '81.— Pierre-Marie Beyle, (1888- ), Lyons  : aided by Philip- pon; medal 8d class '81.— Adolphe-Gustave Binet (contemporary), \a Rividre, Saint Sauveur: pupil of (}^me; medal 8d class '85.— Anatole Henri de Beau- lieu (18l9-*84), Paris ; a brilliant pupil of Delacroix following that master in scenes of the east and of literature. — Femand Blayn (contemporary), Paris: pupil of Cabanel; medal 8d class '86. — Maurice B. Bompord (contemporary), Bodez: pupil of Boulanger and Jules Lefebyre; medal 8d class '80. — Henri Brispot (contemporary), Beauyais: pupil of Bonnat; medal 8d class '85. — Jean Eugdne Buland (contemporary), Paris: pupil of Cabanel and Tyon; medal 8d class '81. — Charles Alexandre Coessin de la Fosse (1829- ). Lisieux: pupil of Picot and Couture; medal 8d class '78. — Henri Dargelas (1828- ), Bordeaux; one of the J^uen colony: pupil of Picot; medal *64. — Hlppolyte Pierre Delanoy (con- temporary), Olasgow, of French parents: pupU of Barrias, Jobb^Duyal, Bonnat, and Yollon; medal 8d class '79. — Louis Deschamps (contemporary), Mont^limar: pupil of Cabanel; medal 8d class '77. — Lton-Maxime Faiyre (contemporary), Paris: pupil of €f^r6me; medal 8d class '84.— Tony Faivre (1880- ), Besan- gon: pupU of Pioot; medal '64; also decoratiye painter. — ^Edme-Adolphe Fontaine (1814- ), Noisy-le-Grand: pupil of Cogniet; medal 8d class '62. — Albert Fourie (contemporary), Paris: pupil of J. P. Laurens and Gautherin; medal 3d class '84. — Jacques- Yictor-Eug^ne Froment (1820- ), Paris: pupil of Jolliyet. Amaury-Duyal, and Lecomte; Legion Honor, '68; paints also landscape and his- tory.— Amand Gautier (1825- ), Lille: pupil of Souchon and Cogniet; medal 8d class '82. — Auguste Albert Georges-Sauyage (contemporary), Caen  : pupil of G^rdme; medal 8d class '79. — AJphonse Louis Galbrund (1810-'85) Paris: pupil of Riohomme and J. B. Begnault; medal '6>. — £douard GUhay (contemporary): pupil of Jules Gk>upil and Cabanel; medal 8d class '86. — Paul Grolleron (contem- porary), Seignelay: pupil of Bonnat; medal 8d class '8B. — (Georges Haquette (con- temporary), Paris: pupil of A. Millet and Cabanel; medal 8d class '80.— Alexis- Marie Lahaye (contemporary), Paris: pupil of Pils, Corot, and Carolus-Duran ; medal 8d class '86. — Ernest Joseph Laurent (contemporary), Paris: pupil of Leh- mann, Herbert, and Merson; medal 8d class '85. — Marie-F61ix-Hippolyte Lncai (contemporary), Rochefort-sur-mer: pupil of Pils and Lehmann; medal 8d class '84. — Mademoiselle Julia Marest (contemporary), Paris: pupil of C. Chaplin and Geryex; medal 8d class '85. — Henri Michel-L6yy (contemporary), pupil of Barrias

364 A, HISTORY OF FRENCH PAmTING.

and Vollon; medal 8d class "dl.— Antoine Paul llmile Morion (contemporary), Bolly-sar-Loire; medal 8d class 'W; many of his pictnns are historical genre. — L6on Olivia (contemporary), Narbonne: medal 8d class 76. — Pterre Oafcin (ooo- temporary), Monlins: pupil of Leoomte and Oabanel; medal 8d class '88. — Jean Baptiste Augnstos Nemos (contemporary), Thodnre: papil of Pioot and Cabanel; medal 8d class '77.— Arthur Fran9ois Th^vifinot (contemporary), Paris: pupil of Bin, Lequien Jttt, and Gabanel; medal 8d class '86.— Jean Fran9ois Bngdne Tonmenz (1809-'67), Banthousel: pupil of Mar6chal; medal 8d class '48. — Augusta Joseph Truphdme (1886- ), pupil of Oomu, Flandrin, and Henner; medal 8d class '81

BUSTIO GEISHIB.

Landfiospe with fignres^ or what is better called, perhaps, rustic genre, was bat a further deyelopment of the moTement of 1830" in landscape  ; to that were now to be added the inspirations of human- ity ; with its light and air and harmonies were to be combined, the courage, valor, and simplicity of the toilers of the fields. This, at length, became an interest of such power that it has led painting into an entirely new field, that of contemporary life in all forms, especially those of labor, and produced an art that in the solemnity of the works of its chief. Millet, suggests that the sentiment of religion, in its escape in France from the modem treatment of traditional subjects, has found a resting-place in that of peasant life.

Transcending all others in this was Millet, who, indeed, upon his final adoption of it, based it upon penetrating studies of reality,

grasping with profound feeling all the new <:8"-SG,"mr capacities for landaoape oonqaered by the

M«d. ad ci. '53. '64. Freuch school in following Constable's infln-

oU.o o".'?,;. .w"'"- '"■ ^^c*' "'^^ ^""^"^e ^*t a dignity, a resigned

passion, infused his subjects with a tragic

profundity of emotional significance. His works thus of highest artistic quality, became ethical incidentally, sermons by the way. That this is an added value to them cannot be denied, even by those who maintain that to make preaching through painting an aim would destroy it as art — ^for it is not as in literary and moral painting which inculcates its lesson, and in which emotional impression is derived from the lesson, — ^the associated thought, and not from the picture. With Millet, the lesson proceeds from the emotion which the picto- rial presentation evokes ; it follows full artistic achievement, is the incidental corollary to it, an aftermath of benefit ; from one point of view, a mere happening of his art, though of course the moral side of his subject in nature must have had much to do with his awaken-

THE NINETEENTH CENTURY. 366

ing to its pictorial potentialities. The efiFect of all his qualities com- bined often, indeed, rises to sublimity.

Bat whence came into the nineteenth century, and into French life, this man so enamored of toil and the fields, allied to them, indeed, by the very fibre of his nature, whose works are constant confes- sions, sermons of resignation to struggle and toil, to the hard lot of insufficient means, to the patient aooeptance of not only the decree, " Thou shalt eat thy bread in the sweat of thy brow,'* but of the fact that the sweat of the brow may not yield sufficient bread P Millet's work, indeed, was more than this. It was destined to origi- nate a style that, after a long and slow education of the public, first to acceptance and then to admiration of it, was to add to French art the element of spiritual grandeur — ^the element in which before Millet's day it had been most conspicuously laddng.

Millet is found at the age of twenty-three the pupil of Delaroche at Paris, a boon which we have seen Meissonier, one year younger, so wistfully regard in vain. But this artistic priyilege found him often suffering from cold and hunger, for, the oldest among eight children, he was living on a limited pension,* irregularly paid by the munici- pality of Cherbourg, by which it had been granted to him for study in Paris upon the representations of his teacher there, Langlois. His father was a peasant of sturdy character and worth, which, with the religious spirit of the entire family, inspired Millet, not only with his deep reverence, but with the respectful regard for the peasant life with which his pictures are replete. His father's mother, who watched over his infancy while the family went ^' afield," a woman of strong character and earnest religions faith, was a prominent object in the clinging remembrances of his early life. ^^ Waken, waken, my little Francois, the little birds have long been singing the glory of €k)d," was the morning greeting from her lips that infused its piety all through his day — ^all through his life, no doubt. Through the instruction of his great uncle, Gharles Millet, a priest, and that of the successive curSs of the parish, he had acquired a knowledge that held him before he left home a charmed reader of the Eclogues and Oeorgics of Virgil, and gave him great pleasure in a Latin Bible, the plates of which he assiduously copied in his rare intervals of leisure. He seems to have been the culminated growth of the family susceptibilities to the elevating infiuences of nature, a more advanced development of his father, who amid the pressure of

1 It was 400 francs, to which later were added by the Council of La Manche 600 more. Both, however, bood ceased.

366 ^ HISTORY OF FRENCH PAINTING.

peasant life essayed to model figures in clay for his child^ and who directed his attention fco the beauty of nature, saying of a treet,

• • How beautiful I It is like a flower ; *' and of the high quab'ties of

his grandmother's family of four worthy brothers, who were aU readers and thinkers. A professor of the high school of Versailles during his vacation in the country, haying talked with the lad, said of him, I have met a child whose soul is as charming as poesy itself/' His peasant home, the sorrows and bnrdens of the peasant life, formed his first artistic inspiration, for, seeing when a boy an old, bent peasant plodding homeward from work, he caught up a piece of charcoal and reproduced the figure with a power that removed from his father's mind all objection to his oldest bom's abandoning the farm fco become an artist. While with Langlois at Oherbourg he had been recalled by the death of his father in 1835, and for a while attempted to be the stay of the family, but the grandmother and mother persuaded him that he would fulfil his father's wish in becoming a painter.

In Delaroche's studio Millet found Jalabert, Hubert, Couture, JBdouard Frdre, Yvon, Antigua, and among others, Bouz, a favorite with Delaroche. The instruction there received was little and its tendencies against the bent of Millet's talent. The conflict engen- dered imparted to him an air of gloomy brooding, for to practice it with sincerity involved a radical change of his nature. It would be the lark abandoning its soaring in the morning light to gain stateli- ness from the swan  ; training its wing for a calculated and measured motion  ; stifling its thrilling cry to attempt the cadences of standard grace. Millet having absented himself from inability to pay his fee, 100 francs a year, Delaroche sent for him and — ^' adFter rolling two cigarettes and offering one to his pupil " — remitted all expense, and solicited him to remain as his aid on his famous Hemicycle. But upon Millet's eagerly entering into competition for the Prix de Borne —even changing his style to work out its academical requirements — Delaroche informed him that, although he was producing a figure of great merit and should have his master's aid the next, Boux was to have it that year. The straightforward youth immediately left the studio  : he repaired to the academy of Suisse and Boudin, and spent his evenings in the library of St. Oenevidve reading of artists, and also went to the Louvre where he found Lesueur, whom he pro- nounced ** one of the greatest souls in French art," and, besides Gorreggio who served in his earlier development, those afiBnities of his later natural style and truer growth — Fra Angelico, Michael

THE NINETEENTH CENTURY. 367

Angelo^ whom he designated as celai qui me hanta si fortement toate ma vie, and Poussin^ of whom he wrote, that he could pass his life face to face with his works. The classic, Poussinesque method was^ indeed, at foundation, the same as the rustic style worked out by Millet and despised by the professors of the grand art ; that of a broad and yivid interpretation of nature, boldly simplified and subordinated in all parts to one controlling sentiment. By Michael Angelo, he was impressed with style and significant gesture, and, in Era Angelico, was touched by the simple earnestness of duty, which he was eventually to make even more profound and of a wider scope than that master's faithfulness to dreamy ecstasy. But for this companionship at the Louvre he would have fied to Gruchy, and given up art, for, as he relates, he was awkward and feared ridicule and spoke to no one. He now sought to live from pictures painted to sell, and even by accepting commissions for signs, as for a sail maker, A Sailor  ; for a dry goods dealer, The Little Milk Girl, of the size of life, which still gathers admirers around it in the streets of Cherbourg. He worked upon illustrations and, in his less practi- cal ability, was greatly benefited by the management of a friend, MaroUe, who occupied apartments with him. He also turned to por- traits, and, after returning to Gruchy and, Anta^us-like, gaining strength by resting his foot once more upon his native soil, painted his mother and grandmother, the latter twice, once with great care and love, saying, '^ I want to show her soul. In 1840 he sent two portraits, one of MaroUe, and one of a relative, to the Salon ; the lat- ter, *^ the poorer, he said, was accepted. During these ten years — 1841 to '51 — Millet's art, with the exception that in 1849 he produced his great work. The Sower, was in a state of transition from the influences authoritative to him, met upon coming to Paris, to the art attained by his own unaided and natural development. Under the influence of his studies of Gorreggio he directed his attention to modelling and color ; he painted the nude, and artists themselves called him a master of the nude. Of his (Edipus taken from the Tree (1845) he said, '^It is an excuse for practice in the nude and in the modelling of light." The Jews at Babylon (1848)  ; Baltheus  ; Young Girl made to drink near a statue of Bacchus ; Nude Woman  ; Age of Gold (1846), are pictures of this time — ^beautiful, innocent women and children of a rapid and facile execution. They are numerous, for he had married a second time in 1845 after a painful struggle of two years and a half in poverty with an invalid wife who died in 1844, and the family, that eventually numbered fourteen chil-

868 ^ HISTORY OF FRENCH PAINTINa.

Aren, of whom nine surviyed him^ demanded food. He had condooted hia wife from Oixichy to Hayre^ and for a while enjoyed a sncoeGB in portraits that gaye them oomfort, and in 1847^ with an acoomoktion of 900 francs, had retomed to Paris. There, one day, he narrates, he was f nrtiyely regarding his picture. Women Bathing (Lnxembouig) in the dealer, Deforge's, window, when he oyerheard among the bystanders the remark, ^' This is by that Millet who paints nothing but nude women. The pure-minded, unsuspecting peasant was startled by the implied eyil tendency of his pictures. He recalled that his grandmother, upon his late yisit to her, had, in her great pride in his talent, solemnly charged him to consecrate it to the high- est sendee, for for that God must haye intended it. On that oon- scienoe-prick hinged a great moyement, for from it arose a practice by Millet that has turned the course of French art, gradually at first and through struggle and condemnation, but later, by an unstayable cur- rent, to find in the sincere painting of the humble facts of con- temporary life its true inspiration. He at once abandoned works of that character, first winning, howeyer, his wife's acceptance of the struggle inyolyed. He had been refused admission to the Salon in 1842, in 1843 he did not apply, but in 1844 he began regular exhibi- tions occasionally interrupted by rejections. But in 1848 the Jury was abolished and eyerything was hung. The Jews in Babylon was admitted, and his Winnower was put in the place of honor, the square Salon, and bought thence for 500 francs by the Minister of the Interior, Ledru-Bollin.

But he had a rheumatic feyer in 1848 that brought him to death's door, which he had to suffer without means to supply the needs of illness, haying, in fact, for some time hardly had the necessaries of life. He had risen from it through the strength of youth when the February reyolution brought a time of great struggle to all French artists, and, under the influence of his friend, Jacque,^ he turned to the burin and etching-needle. The autobiographical character of this work has left a record of his sufferings as well as of the transition from his earlier style. He carried into it both his feeling and the touch of his skilful hand. He was without the proper materials ; he made use of the back of an old plate, of odd bits of metal, as he could ; and, without a press, without means to apply to a printer, without ink, he used the colors from his palette, and, by pressing a scrap of paper upon the plate with the bowl of a spoon, made his first impressions. The earliest

1 Diaz and Jacque, in the playful record of tbefr names upon Rome of tbese earlier plates (Nos. 6 and T), have left testimony to their familiar fiiendshlp with Millet

THE NINETEENTH CENTURY. 869

of these in lithography show one as a design for the cover of a song. Upon offering it to a publisher, "the door was shut in his face/' Later sadly impressive etchings were done when, in another strug- gle with want, he resumed the needle in 1855. In this need MiUet and his wife suffered in silence. Friends among artists who knew their distress, raised a hundred francs, and the thnmpof Diaz's wooden leg bringing it to them was a most welcome sound. Sensier, his biographer, says :

" BfiUet sat in his studio on a box with his back bent like a man chilled. It was f reeasing cold in the room. When the monej was handed to him, he replied, ' Thank 70a. It comes in time. We have not eaten for two days, but the chil- dren have had food until to-day/ and calling to his wife, said, * I am going to get wood, I am very cold.' When the insurrection of June came he fortunately had Just painted a midwife's sign, which she seized at the first firing of guns and left him thirty francs in payment. ' On this we lived two weeks,' said he. Such were his struggles that, upon the advice of Jacque, he exchanged six drawings for a pair of shoes, a picture for a bed; sold four portraits, among them those of Dias and Barye, at twenty francs for the lot, and charming sketches for from one teno to five francs each."

In 1849 the political turmoil and the cholera drove him from Paris. He had fortunately jnst received payment for his Haymakers, and about this time must have received the ofiScial five hundred francs for his sketches of La BSpubliqne (p. 263). He and Jacque together went to Barbison, and intoxicated in their love of nature, with its proximity to the Forest of Fontainebleau, it henceforth be- came their home. By it Millet was restored to peasant surroundings, the chief source of his inspirations. There he found Theodore Bous- seau, whose slowly but surely formed friendahip proved a solace in the penury that followed — ^penury such that at times credit at the baker's and grocer's ceased. Bousseau's friendahip found for him, in one of his times of trial, a purchaser for The Peasant Grafting, at 1800 in an ** anonymous American, who later proved to be no other than Bousseau himself, and he had also the year before purchased The. Peasant Spreading Manure. Millet in 1867 closed this friend's eyes and subsequently superintended the erection of his monument at Barbison. There his new style, fully apparent about 1847, completely crystallized ; there most of hia great works were painted, in a dArk studio at the end of a garden which he hoed and planted, near the forest of Fontainebleau. In that forest he delightedly rambled, sometimes with Bousseau — who jealously allowed trespassers in that precious painters' land which he had, in a degree, preempted— some- 24

870 A HISTORY OF FRENCH PAINTING.

times with ohildreni of whom his genial nature made him yeiy fond ; or seated on a stone beside his hamble cottage he devoted himself, as he wrote, to *^ the calm, the silence which is so sweet, the gayest thing I know," and on his brain, or rather on his heart, made tran- scripts of nature. I know nothing which is not a direct impreasion from nature or from forms of man," said he. Hence he drew inspira- tion for his long pastoral touched with a deeper humanity than Virgil's Oeorgics, because a more suffering one. It was one long cry of the Earth, of which some of the changes are : The Sower, The Reaper, The Gleaners, and The Potato Oatherers  ; it rose to heroic solemnity in the worship of his Angelus. His memories of Gruohy alone could, however, give models having the earnest traits of character of his peasants, for over those of Barbison, in close proximity to Paris, there had come a taint of the city.

His previous work is called his florid style. Now, his color be- comes charmingly subdued and of wonderful appropriateness of tone. He had found his work ; viz., to give expression to the real meaning of rustic life and landscape. He felt a solid foundation under his feet, and trod firmly on, though misunderstood, neglected, and abused. Often now, until 1860, when he contracted with a dealer for all his works for three years at a thousand francs a month, he was reduced to the direst need.' But he devoted himself to his rustic subjects with that earnest faith in them and reverence for their true and arduous life that compel us to stand in awe before his characters, be they only Hewers of Wood and Drawers of Water (Yanderbilt Gal- lery), as if in the real presence of earnest souls, from whose lives all trivialities have been eliminated, the essentials alone left These de- monstrate that while the essentials are the most forceful things of life, in a strict comparison they are also the grandest Those who have no respite from the stem discipline of necessity, derive a culture from contact with its unyielding truths. May not this dose grinding polish the soul with a truer lustre than the more gentie contact of even the beautiful things of life could produce P At least, it gives a texture of soul more susceptible of lustre.

Millet's treatment now became largely a subjective one, as every artist's genuine work is — ^largely a reflection of his own feeling. He eliminated distracting and purely decorative folds from the garments,

t Daring these years of great straggle, William M. Hant, wliOi IMng at BarblsoD, had f aUen ander MQlet's inflaence and boaght in 1858 his Sheep Shearer and Hie Shepherd, combined with some other American artists, as Hearn, Baboock, Wyatt Eaton, Edward Wheelwright, Wm H. Low, and others, to lighten MiUet's po^ertgr.

THE NINETEENTH CENTURY. 371

trivial ezprettdons from the faoes of his peasants — eyerything, in fine, bnt the marks of a deep^ eamesfc life. This gives to them the effect of a concentration upon the duties of their lives, and thus he has pro- duced a race of laborers that, more even than the characters of the early religions painters, make it seem meet that He who bore the important mission of the Merciful Father to earth, should have had his origin in that class.

The Water Carrier, perhaps more than any other of his pictures, more even than the Sower, impresses us with an earnest presence, in the subtle expression it conveys of a consciousness of the beneficial nature of the woman's work, and is a masterpiece of art. In it the dignity and grandeur of simplicity in worthy duties is forcibly ex- pressed. He wrote of it to Thor6 in 1860 :

" For the Water Carrier I did not wish to portray a servant, bat a wife who has just drawn water for her household needs, the water with which to make her husband's soup. I wished to show her as aocomplishing with simpUoitj and will- ingness an act which  !■, with her other household duties, an every-day part of her life."

Peasant life, in the height and depth in which he saw it, is bo serious a thing as to give a tinge of melancholy to his works. In a letter to Sensier, he said :

" The gay side of life neyer shows itself to me. I do not know where it is. The gayest thing I know is the calm, the silence, which is so sweet either in the forest or cultivated land, whether the land be good for culture or not. Ton will admit that it is very dreamy, and a sad dream, though often very delicious. Sometimes in a sterile portion you see figures hoeing and digging. From time to time one rises and straightens his back, as they call it, wiping his forehead with the back of his hand. ' Thou shalt eat thy bread in the sweat of thy brow.' la this the gay, joYial work some people would haye us believe in  ? But neverthdess to me it is true humanity and great poetry."

These words, this is true humanity and great poetry, furnish the interpretation of Millet's truer work. But this spiritual motive he clothed in a superb technique ; he gave it an appropriate color, rich even while subdued  ; he drew his figures with a masterly, authorita- tive stroke : with f aU knowledge of perspective he placed them in a landscape, of which they became a part ; and surrounded them with an atmosphere that could be breathed. And besides painting the air, reproducing the light, and seeing the invisible," he caught expres- sion in its greatest power  ; permeated with the sentiment of nature, he united nature and humanity in perhaps closer combination than has ever been witnessed elsewhere. Thus, in his Sower, of the given

872 ^ HISTORY OF FRENCH PAINTING.

elements^ a bare ploughed field and a simple peasant, ia made an efiFective poem, of which the charmy though deeply felt, is difficult of amdysis. It is a classic picture in line and form, yet true to the peas* ant's traits, idealized only in abstracting the essentials from trivial aooessories. In the rhythmic swing of arm and gait. Millet has expressed the consciousness, on the part of the sower, of the service rendered ; he has made the sky behind this masterful figure, and the twilight air around him, full of, besides all the beauty of their truth, suggestions of the weariness of long continued, but still energetic labor.

But, as if by its own momentum, public condemnation continued. In 1861 critics of authority made such comments as  : '^ His mon- strous fantasies are as far removed from the truth in the realistic direc- tion, as the pink and white whipped creams of Boucher, Fragonard and Van Loo, were in the other. But About had more truthfully written in 1857  : '^ Millet fills his porringer at the same sacred spring whence Lucretius and Virgil drew, and earlier, the divine Homer." Millet himself said that from Theocritus he learned that one was never more Greek than when painting naively his own impressions.

Millet and Gourbet were classed together as realists, and, though their art was essentially different, it had its resemblances. Both, in the battle excited by their practically avowing that peasants were as worthy, artistically considered, as kings, were heroically firm in their convictions. The predominating expression of those leading works of both which can be brought under this head, is that of hopeless endurance; but in Millet's characters it becomes a resignation ex- pressed by an apparent indifference to all but the duty of the hour, however oppressive, however unillumined by hope. His was a realism of the soul. Suggestions of the patient waiting for the end give to his pictures a religious tone, for thus they have an implication of a herc^ifter of rest and possible happiness. Both artists were, however, interpreted by the fears easily excited in the uncertain condition of public affairs following 1848. Communistic principles were read in Millet's unintending art Of the hot contest excited by his Man with a Hoe of 1868, which was considered an audacious venture. Millet soon after wrote  :

"Sodalistio  ? . . . Is it possible to admit that one may have some ideas in seeing a man gaining his bread by the sweat of his brow  ? Some tell me that I deny the charms of the coantry. 1 find more than chann. 1 find infinite glories. I see as well as they do the little flowers, of which Christ said: ' Solomon in all his glory was not arrayed like one ol these/ I see the halo of the dandeUona, and

THE NINETEENTH CENTURY. 378

of the sun also, which spreads out beyond the world its glory into the clouds. But I see, as well, in the plain, the steaming horses at work, and in a rocky place, a man exhausted, whose * Haw  ! Haw t ' has been heard since morning, and who tries to straighten himself a moment and breathe. ... I reject witli my whole soul democracy as it is known at the clubs ; I haye neyer dreamed of being a pleader in any cause; I am a peasant, a peasant ! "

The Norman '^peasant/' as he called himself, continued his paintings of nature and of life as he had seen it, known it and felt it antil it was recognized as the tmest rendering of humanity that had been known to French art. To use his own words, his aim was '^ to paint the soul. In The Harvest of Beans, engraved by H6douin, he reproduces his cottage home and its tutelary saint, his mother, and in The Angelus, well known through the engraving by Waltner, the religious phase of the pastoral life, the varied forms of which he so sincerely rendered, is most touchingly, reverently given. It is possi- bly his masterpiece, and, certainly, ranks with The Sower and The Water Carrier. The Oleaners has been called almost a religious painting, so deep and earnest was the feeling of resigned, patient life there implied. Bat in The Angelus this is directly expressed, and Millet's own preference for this picture over all his other works is itself an attestation of the religious nature that conceived it. Its scheme is simplicity itself :

At the sound of the distant bell two peasants, a man and woman, with forms and faces of toil and hardship, but of stem integrity, cease their labor and, in the shadows of the coming evening, in a tender landscape of low, level horizon, broken only by the faintly outlined spire of the Tillage church, stand in the hush of silent prayer under which their figures, though but of a simple, rude nature, take a statu- esque dignity. The artist wished to make this still more impressive, Sensier tells us, by conveying the impression of sound, the noises of the country and the distant bdl. " If at all, I can do it by truth of expression, said he. The apparent relation of man and wife between the characters, is full of suggestion of the humble home, refined by its religious harmony and strict sense of duty.'

Millet truly painted life as he felt it, and kept his pictures in his

> The financial history of this Is of great iDterest. Finished in 1860, it remained in possession of M. Arthur Stevens, who greatly admired it, without awakening others, interest, until finally M. de Praet, the Belgian Minister, bought it for 2,600 francs, says Sensier. It next appeared in the Wilson Gallery, for which it was bought at auction for |7,a00. At the Wilson sale, 1881, the late Mr. W. H. Vanderbilt had sent a bid of 180,000 for it. M. Oeorges Petit, the celebrated dealer, secured it for $82^000, and his two customers, who had given him orders, casting lots for it, it fell to M. Secr^tan, an amateur, who, being much laughed at, resold it to M. Petit for $40,000, but subse- quently rebought it from him at the same price, as was said at the time, but since stated at 160,000. In 1888, says the Paris MaUn, M. RockafeUer, of New Tork, offered for it 1100,000.

374 A, HISTORY OF FRENCH PAINTING.

stadio for a long time that he might touch them again and again, until he succeeded in conveying the sentiment of them, '* what they had made him feel. The attainment of this often required many attempts, much groping. A picture of The Village Ghurch in Nor- mandy, in which he was christened, was long kept in his studio, and he remarked to a friend (H. Wallis), who thought it completed, '* No, there is an impression of this scene, as it struck my imagination as a child, which I have not succeeded in rendering, but which I hope to get some day. Are not his pictures thus sufficiently accounted for  ? He assiduously sought in them the impression he had received, an impression necessarily colored by his thought, his sentiment, his knowledge or ignorance, his delusions, if he had any — ^in fact, himself. A tardy, partial recognition of them had come in 1867, at the Univer- sal Exhibition, when for the first time several of his works were ^ exhibited together. Their subdued coloring, their strength even in scantiness of theme, the grandeur of their absolute simplicity, made all else seem mannered, and a first class medal was awarded the artist In 1868 Millet sent nothing to the Salon. But absent, he was made Chevalier of the Legion of Honor. Thus Millet's art was acknowl- edged. But in 1870 he exhibited at the Salon for the last time. Gov- ernment, so chary of honors to the living Millet, gave a small pension to his widow, however, after his death, and a bronze plaque, con- taining the faces of Millet and Bousseau, was placed in 1885 upon a rock at Barbison at the entrance to the Forest of Fontainebleaa as a monument to their memory. Moreover, a movement is now nearly completed for monuments to Millet both at Oherbourg and at Gruchy.

The unprecedented $100,000 ofFered in vain for The Angelns ; the demand for his pictures at any price, especially by Americans who own more than one half of his important works, and of whom Mr. Martin Brimmer of Boston early recognized his merit, buying directly from the Salon of 1853 The Harvesters ; the deep regret expressed by the French at the exhibition of his collected works at the Beaux- Arts in 1887, that so many of his masterpieces were lost to France ; and the concessions of the motto of its meagre catalogue, '^Yictory should be merciful," prove his case but one of many epitomized by A. Michel : ^* The cripple. Justice, must be waited for, but hobbling along she will arrive at last. Olory following will, with a sad smile, then bestow tardy crowns on graves."

Millet exhibited at the Salons :

Portxait of L. M. F., 1840: The Milkmaid ; Biding Lesson (pastel), 1844 : (Bdipus taken from the Tree, 1847 : The Wimiower ; Captiyity of the Jews aft

THE mNETEENTE CENTURY. 876

Babylon, 1848: Seated Peaaant Woman, 1848: Hanresten  ; A Shepherd (eyening); A Woman Shearing Sheep (was alflo exhibited at the E. U. of 1867), 1868: Glean- ers, 1867 : V\ Oman pasturing a Oow, 1869 : Woman Feeding a Sheep  ; The Wait- ing, 1861  : Shepherd Leading his Flock ; A Woman Carding ; Peasant leaning on his Hoe, 1868 : Shepherdess with her Flook (le-ezhibited in 1867) ; Peasant Carrying Home a Calf bom in the Fields, 1864: Bit of the Village of Gr^yille, 1866: The Goose Girl ; Winter Landscape, 1867 : at the E. U. of 1867 eight pictures. Death and the Woodcutter; Shepherd; Fold of Sheep by Moonlight; Potato Gath- erers ; Potato Planters ; The Shepherdess  ; The Gleaner ; and The Angelns: Paint- ing Lesson, 1869: November, 1870: Woman Churning.

Some of his works in the United States are :

Sheepfold; Breaking Flax; The Sheepfold; Moonlight; The Potato Gathering; Mr. W. T. Walters, Baltimore: Girl Spinning; Fletcher Harper, New Tork  : The Sower (second replica, the larger and more important); Water Carrier; At the Well; Shepherdess; Plains of Barbison ; The Knitting Lesson; Hunting in Win- ter; Mrs. W. H. Yanderbilt, New York: Pastoral Scene with Sheep; George A. Drummond, Montreal : The Raker; Return of the Laborer; Going to the Fountain; The Naiad; A. KBorie, Philadelphia: The Milk-Maid; Blanchisseuse; Farmyard Scene; J. C. Runkle, New York: Feeding Poultry (on step of artist's own house); Mrs. J. G. Fell, Philadelphia: The Milk Jar; H. Y. Newoomb. New York: Birth of the Calf, sold in New York 1887 by H. Probasco of Cincinnati ($18,000) ; Ruth and Boaz, 1868; Buckwheat Hanrest (original painted 1868; the oil painting from this, 1874, one of the last upon which Millet worked, sold for 47,000 fr. at the Fred.Hartman sale at Paris, 1881); Coming Storm; Rabbits at Daybreak; Washer- woman; Knitting Shepherdess; Mr. M. Brimmer, Boston: Knitting Shepherdess; Mr. R. C. Taft, Proyidenoe: Women Carding Wool; Mrs. Paran Stevens, New York: Grafting; Water Drawer; Shepherdess; W. Rockafeller, New York: After the Bath (Baigneuse); Mr. Erwin Davis, New York: The Spaders (drawing); Hush of Night; Dog Listening (pastel); Yiew of Farmyard (of artist's early home); Peasant Woman's Toilet (drawing); YUlage Street in Snow (drawing); and 90 other pastels or drawings; Scene at Gr^ville; Woman Teaching Child to Knit; Girl with New Bom Lamb; Woman Reeling Yam; Landscape and Hillside; The Sower (first and smaller one); Potato Planters; Old Woman and her Cow; and 19 other paint- ings; Mr. Quincy Shaw, Boston: Tobit, 1861; H. Sayles, Boston; Women Shearing Sheep,1861 ; Mr. Peter C. Brooks, Jr., Boston: Sitting Shepherdess, Boston Museum : Shepherd  ; Mr. W. Hooker, Cincinnati: Brittany Washerwomen; sold from Mr. G. I. Seney's CoUection 1885 : Shepherd and Sheep (water color, $1,525); Gather- ing Apples (|2,575); Wool CJarder ($8,650); Feeding Poultry ($4,000); Dresring Flax (1864, $4,975); CJhumer ($8,100); Gh^thering Beans (likeness of artist's mother, $6,800) ; Wood Cutters ($5,000); Woman in Kitchen ($660); Spaders (a sketch, $8,800); Spinner ($16,000), sold at Mrs. M. J. Morgan's sale. New York, 1»*6.

One of Millet* s younger brothers, Jean Baptiste, became a painter and exhibited in the Salons of 1870, *74, 76 ; A Farm, and a Field in Autumn (1876) : A Fkrm Yard (1877): During the Harrest (1878), and in 1880, A Washerwoman and Bn- Tirons of Fontainebleau, all aquareUes.

'^ Fran9ois Millet fils/' pupil of his father, as he fondly signs himself 9 lives in Millet's hoase at Barbison since 1888^ works in his

876 ^ BISTORT OF FRENCH PAINTING.

studio^ and produces pictures of subdued and harmonious but not rich coloring, the same peasant subjects of a similar sentiment^ of more finish and altogether less strength of execution, of a less severe and stem realism — ^very charming works, but of course always challenging comparison with the great masterpieces of his father. He exhibited in 1884 Une Gauserie k Gr6yille. Others of his works are The Tired Spinner, in which a young girl, less deeply in earnest than his fath- er's subjects or she would not fall asleep over her work, sits by the side of the full distaff of flax ; and The April Shower which represents a boy and girl gleefully sheltering themselves close beside a pile of brush, so neatly cut and closely packed as to indicate thrift.

Brion, one of a group of painters — Dor6, Henner, Steinheil, whose native Alsatian qualities have yielded to a Parisian development, gives an Alsatian phase of Millet's subjects and qualities ; but though never equalling Millet in extent of influence he exceeded him, though ten years his junior, in winning official recognition, obtaining even Gu.t«v«  Brion ^^ Mcdal of Houor in 1868. The Alsa-

(i8a4-'77). Rothau. tian pcasaut, in his simple burliness and

lT»:';^Z';X:Z^■■ ^^\ afforded to Brion'B pencil a M«d. Hon. '68. bluutcr dignity if possible than Millet

Or. Leopold of Belgium. ^^^^^ g^^ g^^^ j^^^ dignified and

poetized him and rivalled Millet in the almost classic air he has given to the pastorals of his native land, and the peasants in the edge of the Black Forest. Among his works are :

Tow Path, 1853  : Wood Cntters of the Black Forest; Potato Crop in Abnoe  ; Alsatians Threshing, 1858: Brittanj Peasants at Prayer (Mr. J. W. Garrett, Balti- more): Marriage in Alsace (Mr. A. Brown, Philadelphia): Oharooal Fnmace (Mrs. EL. Stuart, New YorJc>

Oonrbet> the most positive of the naturalists before the impression- ists appeared, maintained that the representative picture of his real- ism. The Burial at Omans (1850), was the burial of romanticism. He lost sight of the fact that romanticism was itself the basis of realism. Courbet painted figures, landscape, marine pieces, flowers, fruits, and Gustavo courbot auimals, but his paintings of landscape genre

(ibi^'tS) (itt day), Ornant. axc his most important works. Two incidents

R.t,^L.' H'on'ha.ing ac ^^ ^^^ ^^^^^^ <>' ^^^ ^rt, the bittemess of attack

coptod that of Ordor of St. upon him in the Salon of 1850, in which no

Michael of Bavaria. condemnation seemed too severe, no epithet too

offensive; and the purchase at a sale at the Hdtel Drouot in December,

1881, with great applause from the spectators, of seven of his pictores

- .%_ •^-^ff

W. A. BOUGUEREAU

'A LE PREMIER CHANT PE NOEL

L

• « 

i

\

1

•  ;• " -'Vi\" I' ,. Milt, ."ii"  ; M'ts <if ii  :ri!'.i -^r .»•«  uti:. .• *,

 : • ji 'Ait'i •. .xi- V!' .11 nv >>v\-'.' K- «>r ins I tihcr. lit tx.\

••  : -I I I.-- (.uj.-ru- i\ "-.vNi iv'. <.>::-<.'r- «.f ]•!> work? nrc 'i'L

• -: -u-r < or .-^-.t' xv u,'..i l.,i f-J a^ii ,; ovrT * •  :* worl . - '• J'-. • '. •'•  :.. '*lv i\A iitul • Ir ,]\ j.i'.'ImI  »i> to iiulioit.* tiirfi.

' •"»■<; ■la. i.ii;/ .Nii"'  ; .i. v\\ -xl i f i'. i;»  ;»(!(• he exr .hUhI h i;j. tiii ' II \('i\r< hl-^ j-..Ti:or, jii \\i"i.;..;' *,:.' i i^ i\  !*n<:;rii;on. ohtaKi.iiZ • •

].►» .\I 'ti'ii <f i' iior ill lH*is. Th'" /•. ■•

,,,,._ t^^ ^^ Ktnn^i'u {*•::•» d.'i to I'noii s ^»vIj- ;:

'" • - •'. "' Miiit.r ci- nit^- if p^i^siUe than M*

■■ -"'•■• '■^" t ..;>.. L P.nt iMnn bas di^niitu-M ..

I' ' T/A» i b-rn .IP It vJi^UyiaHaUOUOftu -A v^lW^io air la- liop .^..

'.■^ '^'«^  : . yi )r:-'.. «.♦  ;, < irj*.;e I'iim', v .1  :!'. i»^asantf iu "he ttl:/'

Tow f* it\. IX .e  : W^^.'? r.itt -V .^f r>H. B'-aek Por»'<;t.; P(>tji».^ Crop in A]^- - /v'.^'i. «ns T":«t>'sL:.ic. l^-^;-: I'r'tt.ii^: le.- a-.- mt IV r/rr • Vr. J. W, 'mnva.  !'■.

U L *•' larr. .N-.w Y^rk),

Tc ir^'v', tliu MK^-.i V ^-!iiv^ of Uio isatri.ili^: «  bv^-io the in)|>ri-fi»si/ i-'t.j "•',', \- .1, ir'aint .ijK^'l *'^M tbei\,»n •>>:;: jiivo ]»itturo of his ro.u J-  ::, 1 ^h; H-'.i -.ai ai O^iiar.^ (i.^^ •), w,',^ ihe hurial k)^ ^omantioi^m. Ii* J n' -■' Jj' iti ho *'u;L iLat ror-..!' tr'^rii wa-. i^^'/lf the baM-i of roal'  :i < • ■••M't I  ;^:: ••] ^ii^j ,reg, b*riH.-'\i!;.', '^ojiriiu^ |'^i't*«'.-, flowors, rrn:t>. .iu-: ,,.,.... Hi i. .I's. I -.I" \ li ]»i<H.i.'iUii'^ of larnlscapo  ;r»'ii"

-. tij*/ 0' .•^•. an: hi' 7:»'».'t i:iP;.'iaht \\"r].s5. Two inoitiiii*:

P -

«  #

'6.

. ^ . i'. the iii'.«»r\- ')f jjis i!'t, Mif i'itterness of attu r

^.♦oM»... ^* St UfVyw h'.in in tLu Sal'Mi of I'noO, in which u*

" c )7. liT'i^i.iT;? II M'»Miir(l to-j S' vcre, no epithet t«K

...•■i the }>'i^:ii tse i.i a jaltrt ibo li«V( 1 l>n)Uot in DeconihvT,

■*•••'. -at  »j!} b*u:.c i'.\-iu liie .- jv-etutoViS, of devon of his pictur-'

THE NINETEENTH CENTURY. 377

for the French Goyemment/ show the power that he posBessed, and that constituted him the father or chief of the realists. After exclusion since 1844^ the free Salon of I8489 in which he presented The Violin- ceUist and three Landscapes^ had made him known, and in 1849 he exhibited his After Dinner at Omans without disapproval ; he even received a medal for it, and had another work purchased by the goy- emment. In great hope he had industriously planned a greater suc- cess for 1850, and, with his wonderful rapidity of execution, had pre- pared nine works for that Salon. They could not be excluded, because of the regulation for exemption to medallists, established in 1849 and remaining unmodified until 1853, and which now enabled the chief of the realists to defy the hostile jury. A storm, however, ensued, and, says a chronicler of the time :

" It was like the thunder of a water-spont barsting upon the Exhibition. The clamor was great, continued, irresistible. To discuBS, to reason, to present argu- ments drawn from art or history was impossible. No one listened, no one under- stood.

Some of the epithets that rained upon him were, " A stranger to all delicacy 1 *' " Tin ignorant grossier 1 " " A drunken Helot 1 '^ What did it mean that the vile masses, these breakers of stones, the hungry and ragged, should also with Millet's peasants sit down among the ideal characters of art, the divinities of Oreece, the heroes of Borne, the plumed knights of the middle ages, the gallants of the day  ? It seemed that the battle fought by 06ricault for the right of the victims of the shipwreck of the Medusa to claim for their sufferings some of the attention freely given to the griefs of Andromache and Hector was to be fought over again. But, in fact, it was not a battle of art entirely, though fought under its banner, and superficially so con- sidered. It was a battle of politics that burst upon the unsuspecting artist. In 1850 the political reaction had begun that was to destroy the Second Bepublic, and it was a fear of the power of the masses that led to the severe condemnation of Gourbet's art at this time. His single picture of 1849, though affording the same ground for the effect that his critics would find in his art, had not been as aggressive in the Salon as this larger number of works : the Burial at Omans ; The Stone Breakers ; Peasants Betuming from the Fair ; two Landscapes from the Border of the Lone ; four Portraits,

1 At the Lepel-Cointet Sale, The Deer In Cover, 86,000 fr.; The Man with a Leather Belt, 26,000 fr. ; Conrbet'B Stadlo, 81,000 fr.; Stag Fight, 40,000 fr.; Deer GaUlng, 88,900 fr.; Wounded Man, 11,000 fr.; Siesta, 20,100 fr.

378 A. HISTORY OF FRENCH PAINTING.

one of himself (since celebrated as the Man with the Pipe), one of Berlioz, one of Francis Wey, and that of Jean Joumet with, simply as a fact and therefore an appropriate accessory, his wallet full of socialistic brochnres. The socialistic writings of Prondhon (Pierre Joseph, 1809-'65, editor of The Representative of the Peoph) ascribed to his pictures a moral and political significance, and the art- ist's opponents urged against him, that he was teaching through his works socialistic principles. But Oonrbet was not a political philoso- pher ; his intellect, though vigorous, was limited, and, no doubt, his choice of subject had no deep significance, but in that, as in bis treatment, he painted what he saw, as he saw it. His realistic repre- sentation, howeyer, had the effect that the incident itself would hare had  : his motifs of pictorial significance were incidentally of political significance. Thus the features of the scene in The Stone Breakers required and had no comment from him, except the comment which selection of subject itself is and that which a true artist always pots of himself in his work. Id its reality it was heart-breaking. The representatives of idealism joined their condemnation to that of political fear, and accused him of painting nothing but truths brutaUy true aud with brutality.^'

It represented under a deoliyity, in itself saddening by its baienesSy yet o▼e^ shadowing all by rising to the top of the picture, two road menders — an old msn, in poor, patched garments, his form borne down by age and toil  ; and a yoatii. By their indifference to sU interests of converse, to which both have been crashed, the one by long depressing toil, the other by absence of hope, they are isolated though together. The older man stoops over a pUe of stones with a hammer, nonchalantly breaking them, his arm, as it were, stiffened to the same task for many years  ; the younger carries a heavy basket of gravel.

He violated and defied the most cherished rules of the idealists, especially by the Burial at Omans and the Peasants Betuming from the Fair, which, as highly characteristic of his practice in representing the common people realistically treated and with a tech- nique of power, are with Les Demoiselles du Village and The Betom from the Lecture, of 1863, his most famous pictures.

The last pictures some cur^ jovial and merry after wine drinking. It was not admitted to the Salon as being an attack upon respect for the clergy. The Burisl at Omans was an interment, into the picture of which the good people of Onutos came each in propria persona and were reproduced in unsoftened portraitaie of homeliness of face, feeling, and manners without selection, bat with the peroep- tioD and excellent rendering of the genuineness of grief.

Gourbet was a strange combination of conceit, blundering, qoicls

THE NINSTSSNTE CENTURY. 379

apprehenBion, and trae artistic qualitieg, and^ albeit a great brag- ^Ktty he painted by his artistic instinct better than he knew, for, though he had the habit of spreading his ten fingers with the satis^ fied assertion, ** La peintnre, c'est lA/' he had» besides the painter's hand, the painter's eye and temperament, a susceptibility of the senses to all exterior spectacle, and, the doctrines once attributed to them being forgotten, his works have made themselyes felt for their true art. The Burial at Ornans was of great force. The group of weeping women Bastien-Lepage was wont to admire greatly, saying it was '^reality itself. It was of a treatment which, though wholly innoYating, could not be ignored. Instead, it was condemned with a bitterness that droye the big, strong mountaineer to defiance and, possibly, exaggeration. After the exhibition he took the pictures to Besangon, the chief city of his native proyince, Doubs, and exhibited them with great success, as he did also at Dijon, Munich, and Frank- fort He, however, bent to the storm, and showed his perception of its source in yielding to his divination that peasant women could not excite political fear in the same degree as men, who might resist being deprived of their recently acquired vote, and The Demoiselles of the Village Giving Alms to a Gowherdess (now owned by Mr. Wiggles- worth, Boston) appeared in 1852. These figures are placed in a landscape so charming that it has given rise to the criticism, that Gourbet's innate love of landscape made it impossible for him not to give it the ascendency, even when intended for a background only. In 1858, Women Bathing was exhibited and illustrated, in the nude back of one of them, the artist's power to delineate delicate modelling with great truth and fineness of detail. The Spinner sleeping lightly by her wheel, in her humble room, made cheerful by a vase of flowers, of 1853, and The Woman Sifting Grain among the piled up sacks in the gray of the mingled dust and flour, of 1855, followed. The polite world liked no better to substitute the stalwart bathers for the accus- tomed Nymphs and Graces, and could not judge the art apart from the characters represented. But as the Second Empire was now established, no longer fearing that Oommunism would cloud their horizon, they attacked the artist only with mockery and ridicule ; he was not excluded from the Salons, though later in 1872, after his part in the excesses of the Commune of 1871, upon the motion of Meis- sonier, that was accomplished.

One of his works of 1855, of most skilful execution, a picture of himself painting a landscape of Franche-0omt6 and surrounded by friends, visitors, and models, called Gourbet's Studio, is now of great

380 ^ HISTORY OF FRENCH PAINTING.

Yalne for its portraits alone. After this he plunged into the depths of nature and painted The Brook from the Black Well (1865^ Lux- embourg). The Buck at Bay, The Hidden Stream — of a yerdnre so fresh that their sight is as a breath of sweet country air. His natiye Omans was in a valley so beautiful as to attract artists thither for its scenery, and it early awakened his innate sense of external nature. It was on the river Doubs, which near its source, so pure is its green, is called the emerald river. The neighboring mountains of the Jura had also roused his love of the chase, and he painted of that experience Le Halali (1869) ; Stags at the Stream ; and The Combat of the Stags. The sea also appealed to an eye that had a keen regard for all things, and at Trouville he painted, in as many days, twenty '^ Sea Landscapes," as he caUed them. In most of these the promi- nence is given to the sky. The Wave, in the Luxembourg, presents the top wave of the inflowing tide just as it breaks over into its white cap. It is the grandest and most animated of waves in painting, and is full of suggestion of the artist's feeling in view of it

After attempting the nude in his Bathers he represented it in every form and attitude, in every light, and under every name, as The Sleepers, Les Luxurieuses, Les Indolentes, and his ten fingers made it realistic and of a rare success. Some of these are marvels of excellence, showing great power of modelling, but he never painted nymphs or imaginary beings. In 1861 his prestige became such that large numbers of young artists requested him to take charge of ft studio in which they might work under his counsel : at last he was acknowledged a chief. He accepted the honor. In his reply ' he recognized no ideal art. He wrote :

" Painting is an art essentially oonorete, to which all interpretataon of the ab- stract is prohibited. The artist has no right to amplify upon the ezpressioa which nature makes of the beautiful. Realism is founded on the negation of the ideal"

He did not absolutely seek ugliness, but he held that seeking ideal- ity or beauty of form was an error. Said he  :

• < Whj should I seek to see in the world what is not there  ? and why should I

disfigure by the imagination what is there  ? " Again he said to a pnpU who ooo- sulted him about the manner of painting an angel, ** But why paint an angel f Have you ever seen an angel  ? No  ? Well, then leave this figure and paint mon- sieur, your father, whom you do see every day."

A favorite saying of his was the paradox, '^ The beautiful is the ugly. " That is perhaps explained by there being a beauty in the

> Letter publlBhed in Le Oouri&r du JHmandtt, Dec. 20, 1S0L

TEE NINETEENTH CENTURY, 881

gennineneBS of being frankly and sincerely ugly. With him being natural became an affectation. He accentuated bis traits of mountain- eer by carrying them into his dress and life, fastening bis clothes with twine, and wearing one winter, though not poor at the time, a bed- quilt for an overcoat. Though of great independence, and choosing strong types, and of an oyerwhelming force, this artist and the misty Gorot, who dreamed out his pictures, worked upon the same principle — that every artist should remain absolutely true to his own impres- sions. ' This was also the basis of Turner's works. The result, a most varied individuality, establishes the value of this theory in develop- ing that quality. Courbet's eye, artistically speaking, looked lovingly on the just and unjust, and like the rain from heaven, avoided neither, selected neither, but lovingly proclaimed all worthy of reproduction. His love of nature had attracted him to the painting of it from the study of law, for which he was sent to Paris in 1839 by his father, from whom he inherited a fixedness of character which was more than firmness.' He had painted here and there, as he might, with no thor- ough course of instruction. His first few lessons were had while in the seminary at Besan9on, from one Flageolet, a follower of the class- icists, and with as little sympathy for Gourbef s native art as D^laroche for Millet's. Subsequently he went into the studio kept by Suisse, to which Millet had also resorted, where all worked from the living model without instruction. Then he was in the studio of Steuben and Hesse, awhile in each, and longer in that of David d' Angers. He was accustomed to call himself '^ Nature's pupil." Thus he be- longed to the clientele of no great master, was wholly by himself and alone was to stand or fall He stood, and finally refused the Gross of the Legion of Honor, having accepted that of the Order of St. Michael from the King of Bavaria. Personally he was very fine look- ing, '^ reminding one of the faces of the marble forms of the hand- some Assyrian kings," happily says Silvestre. His '^ large eye was of a wonderful, mild beauty," and he had a manner 'Hhe politeness of which seemed gentleness rather than ceremony." It has been ques- tioned if the true Gourbet was not lost by the bitterness of the early attacks upon him, and that which would have been simply originality

1 Hamerton relates that Conrbet once, In the climax of earoestnesa in speaking of landBcape, exclaimed : Pat yourself in the presence of nature and paint what you see, BxrdiBu  ! "—excepting the last, Corot's very words.

• As late as 1882 there might be seen, in the grounds of the Ck)urt>et residence, wood cut and piled before the time of the Republic, and left to decay, because the father had said when cut that it should never be sold for less than a price that had never yet been offered. (Dr. T. M. Coan in the Century Hagaiine Feb., 1881)

882 ^ HISTORY OF FRENCH PAIHTIHG.

thuB turned to obstinacy. He took the side of the Oommnne in 1871, and for a supposed organizing of the attack upon the cher- ished Oolumn of Venddme, made of the cannon taken in the Aus- terlitz campaign and surmounted by a statue of Napoleon I., was sentenced by a Council of War to six months' imprisonment. He was required also to replace the column at his own expense. After his release, he liyed a broken man in Switzerland, without friends or sympathy, and much affected by the special decree of his exclusion from the Salon, and without the solace of Millet's last days, that

• ' all's well that ends well." He exhibited his later works at Ghaux

de Fonds the year before his death. At his death his sister, in a deli- cate spirit of family honor, assumed the unjust debt of replacing the column, then not fully discharged,' but was released from it by the Government's cancelling the obligation. Gourbet has been recently much appreciated and honored. In 1882, five years after his death, more than a hundred of his works, but only a small portion of the whole number, were collected for an exhibition at the ^oole des Beaux-Arts, always an honor, as it can be accomplished only by the established authorities in art. Gourbet's practice and announced aim, to eliminate the ideal," leads the present impressionists, who are sl»nd- ing on the results gained by their predecessors, and endeayoring to attain more subtle impressions of reality, to claim that they are his true posterity. Among his works, besides those mentioned, are :

The Wounded Man, 1844: Landscape near Honflenr, Lille Museum; Valley of the Loire; Parisheeof Chassagne, 18^: Rirer Loiie; Ruins of Castle of Scey, 1850: Salle des C'olonnades; Conflagration, 1851: Wrestlers, 1863: Deer Flgbt- ing; Deer in Water; Huntsman; Fox in the Snow; Book of Oragnou, 1881: Fool Hunting; Little Fishermen in Franche-Comt^; Beggar's Alms, 1888: DeerCill- ing; Siesta, 1868.

Charles Ronot (1820- ), Belan-snr-Onrce : pnpil of Glaize ; medal 2d class '76  ; let class '78 ; follows Gonrbet in similar scenes of common life.

A poet, bearing the honor of haying his poems (Jeanne and Lee champs et la mer) '^crowned by the Academy, and an artist whose canvases, speaking in another language the beauties of the fields and sea, have been ** crowned " by both critical ' and

^ Docnmentaiy eridence has sinee been produced to show tbat he had no part In the oTerthrow of the column, and he has been credited with saving the Louvre.

• Paul Leforty Rend M^ard, Andrd Michel, Alfred de Loatalot, CNsorges Lafenestre

and Charles Bigot.

THE NINETEENTH CENTURY. 888

financial' estimate, Jules Breton, lires the pleasant life of sno- cess, highly appreciated for an anusual mental endowment — an en- juiM Adoiph* Br«tofi dowment so distinctly marked, indeed, by

(i8a7- ). courri»r«t. general cleyemess, as, at times, to handicap

?!tt.5;!-6?; ■^"V'u!' his purely pictorial instinct, in leading him L. Hon. '6i; Of. '«7- to addrcss the emotions through the mind

ilti. London* rather than through the sense. Moreover,

Knight of ordor of Loopoid '8i. the cmotiou thus oToked is not always of great Mom. intt. '86. depth. lu somc instances, too, his works fall

short of absolute sincerity in a barely perceptible aim for effect. But he is a skilful, a cultiyated, and a genuine painter, and has had a histoiy of uninterrupted success, his presentations of nature and hum- ble life making him of an accepted excellence in both landscape and figure. In this estimate he has united the suffrages of all lands  : the Germans have decorated him ; England has bestowed upon him a medal ; France, a chair at the Institute ; and Americans make any sacrifices for the possession of his pictures.

The pleasing art of this poet and painter was early claimed both by realists and idealists, and though without full attainment of either the poetic or the pictorial ideal, and too given to *' story- telling, he was considered to possess the essential truth of both. Thirteen years Millet's junior, he entered at a more susceptible age into the atmos- phere that produced the neo-grec art, and caught from it, or, more truly, perhaps, recognized in it precedent for expressing, by a grace- ful rendering, the sentiment found in the life of the common people. Under it, his manner changed from its earlier, broader outlines to a high finish and softness of contour, and he gave the style of classic line to the actualities of nature, and often made the attitudes of his peasants recognized as but the natural poses that labor takes — as is seen in the superb air of his Gleaner. His incidents are those of uni- versally attaching qualities, as, for example. The First Communion and Plenary Pardon. He places these in scenes of nature with a smoothness of technique that often eludes observation in his perfec- tion, and whose excellence has been especially remarked in his paint- ing of sunshine, which, however, is not after the manner of Fortuny and Begnault. And though his work at times has a descriptive, literary character, and touches the imagination of the multitude only by some mental association, instead of holding the observer

• HIb First Commnnion sold from the Morgan Collection, New Tork, 1886, for

$46,500, which was, with the exception of some of Heiasonier'i, the highest price known for the work of an artist whUe llYing.

884 ^ HISTORY OF FRENCH PAINTING.

with the significant sensaousness of MiUet — which has in it an OTerwhelming emotional quality, one knows not how reyealed, but requiring no mediation of the memory or other mental faculty— his masterpieces are still full of charm. His pen and brush idike-- often together — go gleaning in the field of poetry and make similar pictures. His landscape and human incident, always well harmon- ized, are sometimes so united as to enhance the effect of both, as irhere he makes the characters in a scene its own charmed admirers. In The Bainbow (bought from the Salon of 1883 by the late W. H. Van- derbilt), a boy with a free gesture calls the attention of a woman to the scene, who, though a peasant and her steed a donkey, rides like a queen from the field darkened by the shower and touched by the light of the bow  ; and, as she still hurries on for shelter turning her head with a fine natural movement oyer her shoulder to look at the

• • arc-en-ciel,'* she carries our gaze with hers. His Blessing the Orain

(1857, Luxembourg), is remarkable for the golden sunshine that it makes real. This is one of his works in which both realism and idealism found confirmation for their practice. All the figures, from the cure to the humblest peasant, are portraits — ^the population of Breton's native town marching forth in their own semblance, but the young girls, in white, and in a grace of naturalness and freedom of action which characterizes all his figures, except when fact commands otherwise— as here where his representation of the awkwardness of the men in their unskilfully made and unwonted Sunday suits is even humorous, and of suggestiye pictorialness. Oonnoisseurs fond of the traditional style, of beauty of line, and simplicity of composition, also joined in its praise.

It represents the oeremonj, sometimes practised in the Catholic ooantries, of the curb's benediction upon the harrest before it is garnered, and is a tealisdc mingling of the splendor of church paraphernalia and the homeliness of Tillage life. The kneeling figures are full of artistic merit and tnith.

His Erening (1861), now in the Luxembourg, is one of his best works. It is exquisite : a peasant girl at sunset, her beautiful head resting in her hand, her eyes betraying the idyl she holds in memory, while her ^companions form a ring and dance, sits in reyerie.

The Weed Gatherers (1861), too, is deeply impressive of the loneliness of wn- set: in it five women bend in a row to weed the field, while a sixth, a saperb figure, has raised herself to take breath and stands for a moment her hands behmd her back, the wind lightly rufiing her hair.

The Gleaner (1877), another ample and superb figure, with the grace of fne action and abounding strength, carries from the fields on her shoulder, iu the fins pose of one arm raised to support it there, the sheaf of wheat she has gleaned. It indicates an experience of the serious earnestness of poverty, but not of iti

TRE NINETEENTH CENTURY.

385

depranon. Breton was also inspired to Terse by this conoeptiota, as he was, too«  by his Fienrde Sable.'

His picture of the Salon of 1884 was the First Communion. The young girls in transparent white with lighted tapers go forth under the blossoming trees, the long procession growing less in the distance. Of those near by one delays to receive her grandmother's kiss, and her grandfather's blessing.

A companion piece to this is The Plenary Pardon, in which multitudes of men and women fill the canvas and are lost in indeflniteness far away. In both, the pleasing facts of the scene serve as means to convey an idea to the mind rather than to furnish emotion. His picture in the Salon of 1885 was The Last Bay. It represents the farmyard, as the last gleam of the setting sun burnishes it with gold/ and the workers return from the field. A little child toddles out from the protection of its grandfather to meet its mother and father, a vigorous man and woman, and eagerly stretches out its arms towards them, affording in the four a scene of concentration of family affection.

Breton devotes both the langaages in which he expresses himself^ to extolling the yirtnes of his coantrjmen^ to describing the features of the land of his nativity. His yoath was spent in the ease of com- petence under the influence of the gentle life of his &ther and the poetic love of nature of an uncle who^ at the death of the mother, leaving three boys, joined the father in caring for the children, of whom Jules, the oldest, was but four years, and £mile, the youngest, nine months old. The family had the respect of their townsmen, the father being elected mayor of Oourridres, as the uncle sub- sequently was, when reverses had aroused his practical ability, and as in this generation the second son, Louis, has also been. Both father and uncle were men of great beneyolence, and the uncle pos- sessed an encyclopedic knowledge, by which, combined with his long researches into nature, he delighted and instructed his nephews in their boyish questionings. Two, ^mile and Jules, are artists, and Louis desired to be, but when the revolution of 1848 brought ruin to the family fortunes, he, with his uncle, who now displayed unex* pected talent for finance, developed the business of a brewery once owned by the family and now rebought. Jules declared for the artist's profession when but six years of age, although there was no practice of art in his native town, and his only art nourishment was

> '* Cerds de la Oaule, Aux f euz de Measidor, Comme les epis d'or Foot bien sur too ^panle ! '* etc. ^Les champs et la mer, p. HSL

86

"As Inhlsvene, '* Daoi le crepuBcle que dors Un dernier rayon iDcertain, Sur PhoiiiOD oil vfbre encore La brume cbande dn IdntabL*' — JM., p. Gtt.

886 A HISTORY OF FRENCH PAINTING.

the bright green paint with which four statues of the Seasons in the garden were yearly restored. The yiyid impression of this he has commemorated in a poem. When ten, through the influence of a pious grandmother, he was sent to a religious establishment at St. Omer ; there the lad made a drawing which thus early evinced the sense of humor which has at times appeared in his maturer worksL A black dog named Ooco, belonging to the establishment, was repre- sented in a cassock, and standing on his hind feet with a book in hia paws, and the legend beneath '^ The Abb6 Ooco reads his breYiaij." Being discovered, the master demanded, Was this done through impiety or to laugh at your master P " The trembling child chose the vaguer evil and answered, Through impiety. The quick^ severe blows of the whip that ensued, from which the boy sought relief under the chairs and tables, caused his friends to remove him, and he was sent to the college of Douai. He studied painting a while under the instruction of his father's friend, Felix Devigne, at Ghent, and there made the acquaintance of the artisf s little daugh- ter of six, whom he afterward married. Going thence to the atelier of Drdlling, he was a fellow-pupil with Baudry, to whose chair at the Institute he has succeeded. He worked hard, but was slow in acquiring his art. His early pictures won little notice. The first, Misery and Despair, 1B49, was suggested by the civil war that had touched the family so harshly. His success dates from The Blessing of the Grain, of the Salon of 1857, of which the technical skill with which the sunshine was painted could not be gainsaid. His prin- cipal works are :

Misery and Despair, 1849  : Harvester's Betnm ; The Qleaners ; L PeraiTB ; The Bay after St Sebastian  ; Little Peasant Girls telling Fortunes. 18S5  : Plant- ing a Cemetery, (Lille Museum): in the Luxembourg the four, Blessing the Gkam, 1857  ; Recall of the Gleaners, 1859 ; Evening, 1861 ; and The Gleaner, 1877 : The Fire ; Weed Gatherers, 1861, owned bj the Comte DuchlUel: ConseoFatioQ of the Church of Oignies (owned bj M. de Clerc): Haymakers ; Betoming from the Fields, 1868  : Vintage at the Chtt»au Lagrange  ; Beading ; Turkey Keeper, 1864: End of the Day  ; Blue Monday  ; Beoall of the Gleaners, 1865  : Spring of Water near the Sea ; Harvest Time, 1867  : Women Gathering Potatoes ; Heliotrope, 1868  : Plenary Indulgence in Brittany, or The Grand Pardon; Bad Grass, 1869: Breton Washerwomen; Woman Spinning, 1870: Girl Tending Cows; The Fountain, 1872: The Cliff; When the Cat's away the Mice will Play, 1874 St. John, 1875 : Village Girl, 1879  : Evening, 1880 : Artois Woman, 1881 Evening at Finistdre, 1882  : Morning, 1888  : Last Bay; Song of the Lark, 18^ The Luncheon ; La Bretonne, 1886 : Across the Fields ; The End of Work, 1887.

daughter and pnpil^ Madame Yirginie Demont-Breton^ oon-

THE NINETEENTH CENTURY. 887

tinnes his laudscape and genre^ and is Hors Ooncoors through

medals of the first class in 1881, and of the second in £mii«Ad«iard Breton jggg f^^ Tjjg pj^t Shore, which is also in the Luxem-

cotrri»r«s. boarg. His brother and pnpil, ^rnile Adelard Breton,

Mod. '66. '07. '66. }^as taken rank among the best landscape painters. He Mad. '76 It Phiia. infuscs into the actaal scene the poetry and senti- M«d. '73 at vianna. mcnt characteristic of his family. He limits his works ordal* of in^poid. ^ * narTow and sombre frame, and chiefly affects

moonlight yiews and the snowy scenes of winter. His Winter Eyening is in the Luxembourg. He was one of the many artists who hastened to the defence of his country in 1870, and with such brayery that his general embraced him on the field of battle. He has exhibited nearly eyery year since 1861, forty-three pictures altogether up to 1888, of which sixteen are winter scenes.

Abandoning his father's business of sugar-making and dis- tilling, in which he was placed after leaying school. Billet fell at

once so completely under the influence of Jules

(Contam'porary). Cantin. Brctou's work, that hc was Called au imitator of

Mad. 3d ci. .873. that artist. He flrst exhibited in the Salon of

• . ad ci. .874. jggijr rjij^^ Youug Pcasaut ; but perceiying that he

had absorbed his friend Breton's method of seeing nature, he ayoided his studio for a while and frequented those of the precise, un- dreaming workers, chiefly that of Meissonier^ and in the Salon of 1874, by his Women Gathering Wood, won recognition for his own originality and now takes high rank in the group of younger artists.

This pioture representB the near yiew of a wood that shows in the foxegnnmd only the trunks of trees. These are delioately wrought oat The receding dis- tance is a luminous perspeotire. In the foreground four women are taking a rest before beginning work; one leaning against a tree, and others reclining on the ground, express the fatigue which is often so unmistakable in Breton's peasants.

Billet has appeared in eyery Salon since 1867 except fiye (from 1877 to '82). His chief works are  :

1867, Toung Peasant Women: 1868» Consequence of a Ghime of Ciurds; Waiting: 1869, Major's Partj  ; Fisher at Ambleteuse (Bordeaux Museum): 1870, Fishers in Enyirons of Boulogne (Lille Museum): 1872, Waiting for High Tide on the Coast of Normandy (Luxembourg): 1878, Return from Market ; Women Cut- ting Grain: 1874, Tobacco Smugglers ; Women Gathering Wood: 1875, In Winter  ; Souyenirs of Amblefceuse : 1876, Toung Eitohen Ghirdener ; Fountain at Yport: 1888, Shrimp Fishers  : 1884, Ifarsh at Arleux  : 1886, Return jCnnn the Sea- shore.

888 -A HISTORY OF FRENCH PAINTING.

In 1873 he had already won honorable mention and a place in the Lnzembonrg for his Time of High Tide, and in 1873 a medal both at Paris and at Vienna for his Betnm from Market and Women Oatting Grass.

Alphonse Legros is a painter of the same general class of sub- jects as Breton. He deyeloped himself amid the drawbacks of AiphonM L«grot poYertj, With somc instmction from Lecoq de Boib- (1837-^ ). Dijon, bandran, an enthusiastic teacher and close student of

' ^' ' all natural effects, and at last found his pictnie

admitted to the Salon in 1857. It was a portrait of his father, and led Ghampfleury, who at once acclaimed him a realist, to 'seek him out He found him a well-poised artist, hopeful and reliant, though only twenty years of age. Still the littfirateur's yisit was the dawning light to the struggling youth. Bis later deyelopment has led to the designation of him as ^'an old master belated, for in figures, landscape, and color he goes back to the early artists, and withal has great dignity and distinction. His pictures hare become much appreciated by artists and are chiefly owned by them ; Seymour Haden is the possessor of his Angelus, which attracted great attention at its exhibition in 1859. It was followed by an Ex Vote in 1861 and a Mass of the Dead in 1863, when Legros left France for England, where he was made Professor of Etching at the South Kensington Art School, and in 1876 State Professor of the Fine Arts in University OoUege, London. His pictures are found in the galleries of Enghud, where they have met with the f ayor they for a long time failed to receive at home, but have more recently been abundantly granted, his works now being sought with great diligence for the galleries of France and only obtained with the greatest difficulty. His Ex Yoto has been officially purchased for Dijon, Monks at Prayer for Alen^on, and for the Luxembourg 1/ Amende Honorable of 1868. His Tinker (Salon of 1875) owned by Mr. G. A. lonides, London, is a man of noble presence, capable of serious thought based on integrity of purpose and uprightness of life, who sits under the trees mending his kettle and possibly, like Bunyan, cogitating a Pilgrim's Progress. The strong^ head expressing depth of character, suggests the artist himself, who makes an original and powerful thought dominate his art^xpression, of which he makes use of every form. He has exhibited sculpture at the Grosvenor GaUery.

Lhermitte, an artist of incontestable talent, dealing in the ^naiv

I Ohampfleary had been the flint to draw attention to Ooavbet

THE NINETEENTH CENTURY. 889

but very dijfferently with the charming Bubjects of Breton, is allied

with Bastien-Lepage in the breadth and f eel- Ljon A«g«.ti«  Lharmitf - j ^^ realistic treatment, and also has, as

(1844- ). Mont. St. Pwo. ^ . . . 1 • 1. 11-

M«d. 3d ci. '74. a fusatnxstey or worker m charcoal, a leanmg

'^^^' to the impressionists' practice.' He paints

the calloaB hands and snnbnmed necks of labor in attitudes and gestures of simplicity and grace, in a style less austere and more yaried than Millet's and as villagers rather than peasants, to suggest a distinction more easily apprehended than expressed. As the son of its schoolmaster, who lives to enjoy his son's fame, Lhermitte grew up in close sympathy with the life of his native village, where his grandfather was a yine-dresser. Thus when his inborn talent had been trained through the generosity of a resi- dent near by, who sent him to Paris for study in 1863, he reproduced with sincere feeling the simple country life with its homely joys and scenes of toiL His master at Paris was Lecoq de Boisbaudran who, skilfully developing the individuality of each, made more celebrated pupils than pictures  ; as Ga2dn and Legros, and the two, Lhermitte and Ferrier, who received a decoration on the same day. Lhermitte excels in draughtsmanship, more clearly demonstrated in his skill as a fusainUte. His form of realism is not without ideality, but is simply the result of his innate sympathies, and of his loyalty to nature. It leads him to render her features with truth, and with a senti* ment that presents alleviations in the hardest lot. He fails somewhat in color. His first successes were in charcoal, and now, besides paint- ing large canvases, he is an aquarellist and an etcher. His Supper Time owned by Mr. James T. TuUis, Glasgow, illustrates his manner and his sentiment :

In the meagre famishings of a very humble cottage, on a bare wooden table, is placed the pot of porridge from which the house mother standing serves the family with tiie directness that recognizes no usages but those of need. The members are gathered with the same informality, the man with his hat on, the young daughter still seeking plates for serrice from those decorating the mantel. All these material interests are incidental to the tender solicitude which directs all care towards the infant whom its older sister is feeding. The entire family seem to hang upon that mouthful for '* the baby."

Of about fourteen pictures exhibited up to 1887 The Harvesters Wages (1882), The Haymaking (1887), and The Vintage (Metropolitan

1 In the preyaQhig practice that flnds " the true spirit of charcoal-drawing in inter- preting nature by pure light and shade, without the aid of line, there Is an affinity with the impressionists' practice in massing Talues without outline or chiaroscuro.

890 -A mSTORT OF FRENCH PAINTING,

Mnseum, New York) are the most important ; the first was tx>iigfai by the state for the Luzemboorg and the second pronounced worthy of it. Lhermitte has a studio in Paris, but it is in the one in the garden of his house, in the quiet of his native village, that he findB the necessary conditions of his saccessful reproductions.

LeroUe, from painting airy landscapes of beautiful trees, lately has taken up airy interiors of large dimensions, often the broad

expanses of the churches of the last century. In (contemporary). Paris, thcsc he docs uot whoUy losc the diffuscd daylig^ht Mod. 3d ci. '79. of his whilom landscape, but is enabled to plaoe his

figures in a clear, luminous silveriness and to con- tinue his treatment of reflected lights, sunbeams, and shadows, and make an atmosphere felt To this he adds the interest with humanity by some suggestive incident or situation, and makes impressive and noble works. He paints broadly and solidly, and has a remarkable perception of pictorial qualities, though he admits into his works the unpicturesque modem costumes. This is seen in his exhibition in the Salon of 1888, The Interior of a Church and in his At the Organ in the Metropolitan Museum, New York. Being of independent fortune, he paints simply because it is his taste to do so, and there- fore what and in the manner that his tastes dictate, and accordingly he is a very personal painter. Lately somewhat in the style of Millet he has taken subjects from peasant life. His In the Country of 1880 is in the Luxembourg. The Close of the Day of 1886, a masterpiece, of which he has himself made an etching, represents two tired peasants returning from work. It is full of sentiment enhanced by the intimate relationship between the landscape and the man and woman enveloped in the shadow of the dying day.

When the German army advanced upon Paris, one painter was not met in the artists' battalion. Monticelli was at that moment tramping Adoipho Monticoiii back to Marscilles, scattering rainbows through the <i8a4-'8«). Martoiiiot. couutry as hc wcut, iu return for food and shelter.

He had failed lamentably at the capital after having at home appar- ently been placed on the mountain-top of glory by his Provencal countrymen, his fellows of the land of Fragonard, admirers of eccen- tricity and show, and he now fled perforce from Paris. To a class of artists and critics delicately attuned to perceive a vague magic" in his art, he is the greatest colorist of the century. He used color for color's sake, and his art was reduced to the simple ele- ments of painting sensations, tone and tint. His fantasies in thick- ened pigment, the caprices of a genius under the development of a

THE NINETEENTH CENTURY. 891

special faonltyy the preBentations of a singolar harmonic tempera- ment, they hare afforded to the painters of pore sensations and the lovers of color the highest note in their key, an extreme illustration which merits consideration. He has produced a '^ painted music/' says Henley, in a discriminatingly analytical notice of Monticelli, and like '^ yerses that one reads for the sound's sake only/' purely unrepresentative effects. It, indeed, finally resulted that to him naught but color had meaning, and that instead of being representative, it was in itself an end. Through the view of a picture by Delacroix, the incipient growths of his efflorescence of color were touched into life — from innate affinities necessarily — and during a sojourn in Paris, by the influence of Diaz, for whose works Monticelli's earlier ones were often sold, they were further developed into such strength as to super- sede his earlier almost fanatical acceptance, under the teachings of Bay- mond Aubert, of harmony of line as the basis of his melodies in art. In this earlier stage, he was as enthusiastic a follower of Baphael as Ingres had been and, immediately, of that great advocate of the line, Ingres himself. His subsequent impromptu, irresponsible, sensation paint- ing—for after 1870 he improvised and sold for what he could a picture a day — in which there is rarely any undercurrent of appeal to thought, was in accordance with the same characteristic that under- lay Fragonard's grace, a ready, unanalytic apprehending of pleasing effects. Spending the remainder of his life in Marseilles, in his rapid work he loaded the paint on his pictures, until design is hardly perceptible at a near view. But his works command admiration, and have been much sought for, ^' monnaie comptanf His range of art is shown by his subjects which, figures in landscape, place him in this group, although there is little similarity in his art to that of the other artists placed here. Among his works, many of which are owned in America, are :

Landscape with Gipsies (Mr. Daniel Cottier, London); Ladies in Garden (Mr. Arthur Sanderson, Edinburgh) ; The FSte (Mr. Daniel Cottier* London) ; The Bavine (a horseman turning to look at two ladies in the foreground) ; Ladies in a Garden by Torchlight (Mr. Thomas Glen Arthur, Glasgow); Ladies in Garden ; Ladies in (harden ; Landscape with Ladies ; Automn (a group of ladies and cnpids in a sunlit meadow) ; Ladies and Dogs; The Gkdlant; Landscape with Figures ; The Wedding Procession.

Le Poittevin, a pupil of Hersent and of the ]^cole des Beaux-Arts, who was fully matured at the opening of this period and had then taken all his honors except a medal of 1855, has a range of work

392 ^ HISTORY OF FRENCH PAINTING.

through the three specialties, genre, landscape and marine, that Eugin* ModMt* Edmond L«  Poittovin renders his classlfication difficult ;

(called poid^vin) but although half his recorded

(i8o«-'70). P»rlt ; ' ® . xi. j •

M«d. ad ci. '31 J 1st ci. '36 ; ad ci. '48 ; 3d ci. 'ss- worKS aTC marines, eren tney denve L. Hon. '43. go much of their value from his keea

power of character reading and oftentimes from his sense of humor, that, while his power in landscape wonld enable him to take rank in that, with the painters of out-door incident is found his truest classification. His subjects are not confined to scenes of France, but are selections from travel on the continent and in England. His last. The Environs of ^tretat, exhibited 1870, was appropriated for the Luxembourg, and his first picture. Harvesters (1826), was bought by the Duchesse de Bern.

Other painters of out-door genre are :

Paul A. Baudoin (contemporary), Rouen : pupil of Gleyre, Dehumy, and de Ghsyannes ; medal 8d elass '82, when he represented The History of Wheat — Kicholas Berthon (1881- ), Paris : pnpU of £oole des Beaoz-Arts and Cogniet ; medal '66. — Henri Bonnefoy (contemporary), Boulpgne-sor-Mer : pnpil of Gogniet; medal 8d class '80; 2d dase '84.— Julien Daprfi (1861- ), Paris : pupil of Pil8» Tiehmann. and Laugi6e; medal 8d olaas 'SO; 2d olaas '82.— LSon A. Hayon (1840- ), Paiis: medal 8d class '88; pnpil of Benoarille, Pioot, and Pils. — ^Edmond H6doain (1820- \ Boologne-sor-Mer : medal 2d class '48 ; 8d class '56, Exposition Uni- yerselle '57 ; Legion of Honor '72 ; pupil of Delaroche and (3elestln Naotenil ; won notice at his first exhibition (1844) : besides French and Spanish peasant scenes as The Gleaners (1867 Luxembourg), he occasionally presents Oriental scenes. — (Georges Langifo (contemporary), Montyilliers : medal 8d class "81 ; papQ of Pils and Lehmann.— Louis Le Poittevin (contemporary), Yeuville  : pnpil of Bouguereau ; medal 8d class '86. — Alphonse Moatte (contemporary), Marseilles : pupil of Meissonier ; medal 8d class '81 ; 2d class '82.

A younger brother of the Orientalist Charles Theodore Frdre, £douard, a delicate and refined nature, well known through the Pt«rr«  gdouard Frirt multiplicity of his works, the popularity of which led (i8i9-'8C), pmu. ^ their being early engraved, was the originator of M«d. 3d oi. '50, '55. what has been cidled the School of Sympathetic add. 'sa. Gtonre. He was the pupil of Delaroche, but he

caught his inspiration in more lowly themes than that master's his- torical selections, in the homely tenderness of family relation and incident. Thus he is as anomalous a production of the studio of Delaroche as Millet himself. ** The stately swan had hatched a wood bird/' For a long time, howeyer, he saw only through the teachings of his master and exhibited the resulting works at Paris. But success did not come till by the picturesqueness of its thatched cottages and its

THE NINETEENTH CENTURY. 898

OhAteau, now oocnpied by the daaghters of the Legion of Honor, he was attracted to i^coaen and there developed the note of the '^ wood bird." In the qniet of this village where at his coming the humble inhabitants, it is said, often shared with him their frugal meal, he painted its simple scenes with a touch of feeling that converted the mechanical skill perfected under Delaroche into works of a charm that led Parisian dealers to seek him out. There, eight miles from Paris, he lived forty years  ; and there his attractive character and the popularity of his art drew around him a colony of artists and pupils. To them with their families his house was opened two evenings in the week, besides the regular Sunday night ball of French custom. Like Lobrichon and Geoffrey he was charmed with the children, and this spell he threw over his public. Every budding-forth of human weakness; the pout of ill-will, the self-absorbing interest of the moment, as well as the tender affection of The Elder Sister's maternal solicitude for the infant brother, even an awkward big brother's care for " the Baby," the pathos of The Orphan's First Prayer, and the self- sacrifice of The Young Workers, are rendered by him with a delinea- tion so truthful and tender that it is seen at once that he and the children have a special tie binding them together.' And he has not confined himself to the children  : ho has given many Bums-like scenes of cotters' families. But with much good work, simple, pleasing, and sincere, he later exaggerated his tendency to sentiment by yielding to the demands of a sentimental public.

He first appeared in the Salon of 1848 with The Little Glutton, but his works of an earlier date are now of value, as that of 1885, Preparing for Church, (Corcoran Gallery). He painted with a close study of detailed realities which at the time called forth the ridicule of carica- tures. His industry yielded a large production, much of which Ameri- can collections have eagerly absorbed. But many of his best pictures are in the galleries of England, connoisseurs there being led to appre- ciate them through Buskin's eulogies. In 1855 Buskin compared his coloring to Bembrandt's, and pronounced him to combine the depth of Wordsworth, the grace of Beynolds and the holiness of Angelico." When every house at Ecouen was suffering plunder by the Prussian soldiers Fr^re's was respected and safe. Li a eulogy pronounced by Bouguereau over his bier, the fact was stated by which the gentle

> " I saw the entire TiUage aehoo] In his stadlo on a half hoUday romping In their wooden shoes with great noise, whUe the painter quietly sketched their poslUons and motions for what became the picture of A School Breaking up.'* (Henry Bacon, In the London Art Journal for Nov., 188<K.)

894 A, HISTORY OF FRENCH PAINTING.

artist wonld probably prefer to be remembered, namely, that his name was inscribed on the Annuaire of the Society of French Artists for the considerable sam of 15,245 francs, a result of his gifts to their charity sales for the relief of artists.

The family name is sustained in art by his only child, Charles ch rt«  gdouard Frtr. ^ouard, a painter of genre, landscape and por- (1837. ), Pari*. trait, the pupil of his father and of Ooutnre. He

M*d. 2d ci. '48. ii3g exhibited almost annually since he was twenty-

Mad '64

one years of age and obtained a medal that year.

Fortin's B6n6dicit6, or Saying Grace (1855), in the Luxembonrg;

and the many family scenes he has painted, place him in the group

with Frdre, whose neighbor he was at ]&)onen,' (i8!5-'<S5)/parit. ^^^ ^^^^ whom hc had in art a lineal descent

M«d. 1st ci. '49. '57. '59. 'ci. from Oros. He receiyed his instruction from

that artist's pupil Beaumes, one of the painters of historical genre who form a link between the classicists and the painters of familiar incident. Fortin gaye to poyerty, which he often represented in his pictures, chiefly of Brittany peasants, a frankly merry tone like some of the Dutch masters. He was also a painter of landscape, in which he was a pupil of Boqueplan. He exhibited first in 1835 and then eyery year until his death. In the Salon of that year he had the two pictures, A Magpie's Breakfast and A Familiar Scene. His works b^ore 1847 are  :

YiUage Barber ; Oomer of the Hearth ; Cobbler's Shop ; Return to tiie Oottage; Bag Dealer; Soldiers Making Merry: 18S0, The Country Tailor: 1861, Storm : 1864, Between Two DUemmas.

FIGUBE PAIKTEBS.

Jalabert and tidouard Dubufe, fellow pupils with Fr^re in the studio of Delaroche, while showing in some of their works the gym- pathetic nature of Frdre's treatment, through the eleyated style of their figure-painting form a connection with, and belong to, a group of artists who, simultaneously with the work of 06r6me and his fol- lowers, made use of the classic line and contours in a style of more dignity and grandeur than that of the neo-grecs. While allied to that, it may more strictly be called the academio-realistio or, simply, figure painting. Of this class Bouguereau is the most aca- demic, or historic in style, Oabanel most historic in subject : a sub- division might be formed from it of painters of the ideal, as Hen-

^ others of the Acouen colony were Schenk, Veyrasset, Lamblnet, DuTerger, Seig' nac, Haag, Vernier, and Dai^las.

THE NINETEENTH CENTURY. 896

ner with his idyls, Lefebyre with his practice in the elegant and classical nude, and Got with his incidents of primeyal innocence; but there are also many of the ideal painters in other dasses, as Leroax and Puvis de Ghavannes among the painters of history.

]^donard Dnbofe, an eminent painter of portraits and figores, followed his master more closely than Fr^re did, but still misses

Delaroche's ^'conps de th^Atre and the

Edouard Dubufa . -i • • • «  x<l i if*

(i6i8-'83). Paris. Striking imprcssion of that masters pic-

Mad. add. '39; ad ci. '40; i»tci.'44. tares. Dubofe was forming his style

oi. u^hI^.'^**; M-L^d'cf'k. u. -78. d'^n^g ^^^ breaking np of the calculated

culture of the Davidian period, and the bitter contests then imposed upon rising genius of the sturdiest sort (1830 to 1848). His mother had artistic tastes and took a medal for sculpture in the Salon of 1810 at which her husband, Glaude, first exhibited. The son's practice began where his father's ended, in portrait and genre. Through the elevated style with which he im- bues his figures, he takes high rank, especially in Scriptural scenes, which from the age of twenty-three to that of twenty-eight he painted almost exclusively. He was a colorist the *^ rosy hue of whose can- vases made charming his comer of the Salon. Among his works are :

Faith, Hope, and Charity, 1842  : Morning Prayer  ; Family Scene of the Fif- teenth Century, 1844 (Toileries) ; The Widow's Mite  ; Maternal Affection  ; Filial Affection; Player; The Virgin of the Cross; The Prodigal Son, 1867, and one of 1857 of historical importance, The Peace Congress of Paris, March 80, 1858. He sent many portraits to the Salons, sixty-seyen ap to 1879, many of which are most excellent. Among these have been one of the Empress Eugenie, 1856; one of Rosa Bonheur, with an arm thrown over a boll painted by herself, 1857 ; one of Bobert-Fleory, 1868; one of Dumas flls, 1878 ; one of Harpignies, 1877  ; one of Bachel for the Th^Atre Franyais, 1868 ; and by one, the portrait of timile Augier, 1876, he won a place in the Luxembourg.

His son and papil, Onillaume Dnbofe, who was also a pupil of MazeroUe^ continnes the art of his father and grandfather^ portrait and genre, and is now Hors Gonconrs, haying taken a medal of the 3d class in 1877 and of the 2d in 1878. His works are held in high esteem.

Jalabert is a painter of portraits which possess great elevation and comprehension of feeling, combined with the delicate grace that ChTi«Frtn^oi.j«i«b.rt g^^^s tTuc distinction in portraiture. He is (i8t9- ), Nitm«t. also a painter of genre, often of the sympathetic

ad*ci ^'5i**e^E u. school ; of classical subjects ; and of Scriptural

itt ci. 'S3, '55 E. u. scenes. After failing to ¥nn the Prix de Bome

L.Hon. '55; Of. L.Hon. '07. j^ three compctitious, he placed himself for

three years under the influence of the art of that city, and then re-

396 A HISTORY OF FRENCH PAINTING.

himed with a picture of Horace, Virgil, and Varias at the House of MiBcenas (1847), which won him a medal and was bought for the Luxembourg. He is, like Bouguereau, whom he resembles both in subject and style, the perfect master of his craft. His figures are well grouped, his style graceful. Upon a smoothly scraped back- ground he attains with thin color a finished flatness of surface which giTCS him great facility in the diffusion of light and the delicate representation of form. In this he excels, his figures exhibiting a play of line that would be appropriate in sculpture, and being among the finest of the entire French school. He has painted with great effect a scene which has fine pictorial capabilities, Ohrist Walking on the Sea (1863). Other Scriptural scenes are  :

St Luke (1852) : The Annunoiation (1858) : Cbihst on the Mount of OHth (1856): and Sofler Little Ohildren to Come Unto Me. Other works tOe : Fniewell of Borneo and Juliet ; Baphaal at Work on the Madonna dl San Sisto (1857)  : A Widow (1861) : The Awakening (1872) : Orpheus  ; (Christian Martyr ; Italian GizI (1858): Portraits. In his Orpheus and the Nymphs (1858, Walters (j^aUery, Bal- timore), ten or twelve beautiful maidens clothed in idyllic garments, and in Tarious attitudes npon the rooks and ground of a deeply shaded scene, listen witii rapt expression to the bard, whom their intentness almost makes us hear.

Hubert first found his favorite subjects in the malaria of Italy and made them popular. Thus he won the title of the paint^

Antoin* A«gu.t. Ern^t Hibrt <>' diseasc." About said, " If I had one of (1817- ). Gr*nobi«. that artist's pictures in my room I should

M«d.?,t'lr'5.??55. ^^^ ^^^ *^^^^" H6bert, however, has a

L. Hon. '53. mind of most robust power, and there is no

ad ci. '67 E. u. weakness or fever in his art as art Indeed,

Of. L. Hon. €7. t t m 1

Com. L. Hon. '74. thcsc Statements are the result of the strong

M«m. init., '74. impressiou made by one picture, and thus

OlroctoratRomo'6«-'73;*lto'85. ,/ . ,. r\^ • ^ x -i.

attest his power. Once seen, m fact, it clings to the memory. In his youth he pursued yarious lines of edu- cation, and, after winning a University diploma in the Lyc6e of Grenoble, went to Paris at the age of eighteen and entered the £cole de Droit for the study of law. He finished the full couise and took his oath as barrister in 1839, but, to the surprise of the other com- petitors, this graduate in law and, as was supposed, only amateur in art (for he had essayed sculpture in the studio of David d'Angers and, at the same time, through the urgency of Delaroche, painted in his studio), took the same year the Prix de Bome for painting. The subject of the competition was The Oup Found in Benjamin's Sack. His success was due to independent study in searching out

THE NINETEENTH CENTURY. 897

the principles of painting for himself, though at the same time re- ceiving friendly advice from Delaroche. His first composition, Tasso in Prison, exhibited also in 1839, had been bought by the goyemment for the Mus^e de Grenoble. These successes turned the scale for him in favor of a painter's career. He did not exhibit again, however, until 1848, when four pictures won little notice ; but in 1850 his Malaria held a crowd before it during the entire Salon, and won a place in the Luxembourg. He had discovered a new realm of art in much-frequented and, as it might seem, well-nigh exhausted Italy. It was a i^m of sad reality, that of the Pontine marshes, but he gave it a poetic, dreamy treatment that at once bespoke interest for it.

In a boat, on a slow sluggish stream from which the mist rises, a poor family, of pallid features, dark rings endroling the eyes, wrap themselves shiveringly from the almost palpable malaria. Only two of the five, a young man working the pole that moves the boat, and a fair young woman leaning in the carelessness of youthful vigor over its edge, seem free from its banefol effect. They deepen the impression of the terrible sconrge imminent in the gray, lowering atmosphere by suggesting the robust health that the other wan and shivering figures have no doubt once possessed.

Since that time he has had pictures in every Salon except those of '61 and *76, and by 1881 had exhibited fifty pictures, twenty of which were portraits. Four had won places in the Luxembourg. One of these. The Kiss of Judas, had made a deep impression in the Exhi- bition of 1853.

One of the soldiers who have come to take Christ, holds his lantern to discern who is pointed out by the betraying kiss, and thus brings the face of Christ into strong light. It beajrs an expression of disdain and loathing of this false indica- tion of affection, but it is free from anger and of a marked serenity, austere in a calmness with which the simple folds of his white robe subtly harmonize.

It was severely criticised ; it was not like the old masters ;" it was an innovation upon the traditional treatment of religious sub- jects," but it was bought for the Luxembourg. After this Hubert returned to his Italian genre. The Girls of Alvita, of 1855  ; The Oer- varoUes or Women of Gervara, of 1859, which was also bought for the Luxembourg ; The Young Girl at the Well ; The Morning and Evening of Life, show the artist's characteristic treatment, that of an inteUigent and poetic realism, nature seen through his dreamy and perhaps slightly morbid sentiment. His poetic conception gives him the quality of the neo-grecs, and his Girls of Alvita^ on their way

398 ^ HISTORY OF FRENCH PAINTING.

to wash linen have the grace of antique statues. His works axe inyariably characterized by distinction ; in the lighter ones even, there is always dignity. To sentiment and dignity are added admirable drawing and especially a rich^ grave color that is truly Venetian* His work of 1881^ St. Agnes, illustrates all these qualities, and to the dignity is added all the saintly suggestiveness of the subject His second appointment to the rectorship of the Academy at Bome, with his other many honors, indicates the high esteem in which he is held in France.

Merle, a pupil of L6on Oogniet, became a considerable riYal of

Bouguereau in subject and treatment. His pic-

HuguM M*ri* j_ 1 • «  -I'* • i_

(i8a3.'8i), St. M«rc.inr». turcs, chicfly lifc sizc, express, however, some- M*d. ad ci. '61, '63. what morc of the familiar eTery-day life of the

poor, oftentimes ¥nth much feeling, though with a distinct leaning towards the conventionally sentimental. His B^- gar (1862) is in the Luxembourg.

The Secret (Mn. Boberfc L. Staart, New York,) shows two women meetiiig at the well of the neighborhood and sharing wonder-producing inf ormatioii. He has conveyed the stoiy unmistakably. The little son of one tries fretfully but xmsiic- oessfolly to draw his mother away, but she disregards all else in avidity for the secret. He exhibited in sixteen Salons, from 1847 to 1880 inclusive, forty-ei^ pictures, ten of them being portraitR. His Hagar and Ishmael; Charlotte Corday; Beatrice  ; and Ophelia, have enjoyed celebrity.

His son, Georges Hugues Merle, follows in this style.

Gabanel possesses a thorough knowledge of the theories and science of his art, which has made him one of the most popular and Ai«x»ndr«  c»bftn«i successful tcachcrs at the Beaux-Arts for

(1823- ), Montp«iii«r. many years. By nearly fifty years' continu-

Prixd«Rom«. 1845. ^^^ ^ ^u artist of an industry begun as a

M«d. 2d cl. '5a; itt ct. '55 E. U. JO

M«d. Hon. '65. pupil, with au absorption and assiduity that

M«d. Hon. '67, E. u.. '78 E. u. excludod rcst and society, he has attained,

L. Hon. '55: Of. L. Hon. '64. , . , . , ... ., «^ , . , .7

Com. L. Hon. '84; Mom. intt. '63. oesiQes grcat sKiU, tuc flrst HUiK lu portnut- prof. tco\% dos Boftux-Artt '63. ^ j^^ ^^^ ^^ j^ ^ g^]^ which was entirely of

the manner of David before 1861, and now may be called semi-clas- sical. His true service to the art of the day, however, resides rather in his pupils than his pictures. Among the former are some of the most famous painters living and recently dead — as Bastien-Lepage. The latter, though including admirable works and of a technical excel- lence bordering on perfection in attaining its own ends, leaves as a whole an impression not untinged with insipidity. He has been awarded all forms of honor given in art. Beginning at the age of

THE NINETEENTH CENTURY. 8M

f onrteen with the offer of the profeBBorship of drawing in the College of Pons, he next had conferred npon him by his native town in 1839 the means of education at Paris, where he studied under Pioot ; he won the second Prix de Borne in 1845 and because of a yacancy in the first was awarded the pension of that ; he has receiyed countless honors at the Salons, comprising the assignment of four ' of his pictures to the Luxembourg ; three grand medals of honor, one in '65 and two at the XJniyersal Expositions of '67 and '78  ; he has been decorated with the degrees of the Legion of Honor from Gheyalier through Officer to C')mmander  ; and his success culminated in 1863 in that highest of all, being made a member of the Institute and the same year profes- sor iu the £cole des Beaux- Arts. To these distinctions may be added appointments to works for the state, and the high rank and wealth of his nstrons, the great number of whom in.portraiture may truly be considered an honor. Napoleon IIL commissioned him in 1865 to perpetuate him to posterity ; duchesses, countesses, marquises, more than can be mentioned, figure among his sitters, where may be seen, too, the face of many an American soyereign. Ab a portrait painter he is especially the master of every grace attractiye to woman: a consummate skill in accessories ; great judiciousness in render- ing what his subtle reading of the human face giyes him  ; great power and knowledge of hands, to which he ascribes much character; a tendency to poetic interpretation, which leads to his throwing a yeil of mystery oyer the expression, and to giying t/j all women a tinge of interesting sadness ; he ayoids accentuation, eyen leaying in a soften- ing yagueness the too marked characteristics. As has been remarked, what Ingres would haye made as a clearly cut model of bronze, Oabanel giyes in a tender pAte."

In the Portrait of the Emperor, that dignitary is represented in tbe Tnileries dressed in a black oomt-soit with knee breeches and wearing tiie red ribbon of the Legion of Honor. It is a subtle likeness, giving in fine modelling the courtly, polished, refined side of Napoleon III.'s character. There was a difficulty about the dress. Should this Emperor be painted in a black coat, and thus that be made a part of a historical painting  ? The ardst so decided, but represented the imperial robes, with their golden bees thrown over a chair dose by. This has been approved in the main, though by some, even those who accepted the greatcoat of Napoleon I. as suitable for a statue, it has been condemned. It won the Medal of Honor.

Oabanel's masterpiece in portraiture is perhaps that of the Oomtesse de Tonnerre, which excels by its soft, sweet, womanly grace,

^ lliese are The Birth of Venua, 1S68 ; Francesca da Blmfaii and Faolo Malateeta, 1870 ; Thamar, 1876 ; and The Apotheosis of St. Louis, as early as 1866.

400 A mSTORY OF FRENCH PAINTIN&.

perfect dignity, and infinite refinement. Among his fresooes the one in the Panth6on, The Principal Events in the life of St LoniB, begun 1875, iB conspicuous for its own merit as well as for forming part of that fiunous series planned in 1874 by the Marquis de Chen- nevidres. It is a vast work, full of dignified yet graceful sentiment, admirable drawing, of a clear yet sober scheme of color, and marked by the technical knowledge for which Gabanel is celebrated. He also decorated in 1873 the Pavilion of that goddess in the Louvre with a Triumph of Flora» in which she rides across the blue sky in a golden chariot followed by a procession of youthful forms full of all the joy and frolicsomeness that spring suggests. He has exhibited three classes of works : portraits, light classic subjects, and work of the dignified historic style, through all of which is sensible the '^ perfume of the antique." At Bome he was a charmed student, sending home pictures stamped with study of the old masters ; his first work after his return, a commission of great honor, twelve panels for the H6tel de Ville, representing The Months, was in a large style, but of the most delightful lightness and delicacy. It touched even the unsympathetic nature of Delaroche, who procured another order for the young artist in 1856, The Apotheosis of St. Louis for the Luxembourg Palace, which undoubtedly formed the ground of his selection by Ohennevidres for similar work in the Panth6on. His Birth of Venus of 1863, exhib- ited also in the Universal Exposition of 1867, and now one of the most valuable pictures of the Luxembourg, is the masterpiece of his second style. It is of great transparency of color, masterly drawing, and of perfect line throughout It made a great impression at the Salon, won for him his three honors of that year, the decoration of the Legion of Honor, Membership of the Institute, and one of the profes- sorships of painting at the Beaux- Arts. He made three replicas of this representative picture, which deserves more than a mere mention.

The original exhibited in the Univenal Bzposition of 1807, now in the Luxfim- bonrg, is of life size  ; one smaller, painted by the order of Mr. J. Wolfe of New York, is in his gallery ; and one still smaller and paler, in Mrs. H. 0. Gibson's gaUeiy, Philadelphia. The object of the pictore, apparent at a glance, is nothing hi^er, nothing else, than to give occasion for a rare and peculiar modelling of the nnde in lights, it may be said, for it has no shadows, bat is simply lights upon lights. In the success of this; in the adaptation of the treatment to the natoze of the sabjeet^ the first awakening of the offspring of the foam of the sea to the consciousness of the realm of sense, of which she is to be qaeen ; in the technique adequate to con- vey the appropriate idea of buoyancy, as die still floats upon the foam  : the merri- ment in her own dowly opening, long dark eyes, from which by shading with a playful tossing of her arms she wards off the brillianoy of her newsunoondings; la

TEX NINETEENTH CENTURY. 401

the joy and hilarity of the Cupids that float oyer her, one interestedly watching her coming consciousness, one blowing a happy blast upon a sea shell, one hastening away with the glad tidings that love is bom to the world of sense, and others throw- ing up their arms in glad satistaction; in the dazzling delicacy of the coloring of the whole figure, a rippling stream of golden hair losing itself in the azure of her soft couch of clear sea water, consists its yaried and unique beauty.

A picture of 1863^ also exhibited at the XJniyersal Expodtion of 1867, was Paradise Lost, a commisgion of King Louis of Bavaria for the Municli Gallery. It is the type of his third style. Oabanel painted it with great care, looking upon it as representatiye at Munich of the French School^ and it won for him the Grand Medal of Honor. Others of his works are PhsBdra, which has all of his classical tone ; The Gasket Scene in the Merchant of Venice ; and The Florentine Poet, of a charming Greek outline. In the last :

A poet seated on a stone bench recites love sonnets, which two lovers in front foUow with an eager attention that greatly animates the beauty of the lady  ; two youths also listen, and a serene pleasure is depicted on the countenances of all.

Pia de Tolmei dying in the Maremma is one of his most impor- tant works.

The expiring woman's husband, NeUo della Pietra, accused her of infidelity and imprisoned her to die in a castle in this malarial region, and Dante describes her in purgatory. Gabanel wrote of this picture to its purchaser, the late W. H. Van- derbilt: 1 consider it not only one of my best works, but one of the most affect- ing that I have painted. ... I have imagined her upon the terrace of the castle strong in her innocence and defying her evil destiny. "

Oabanel's scholars^ through the popularity of his atelier in the ^cole des Beaux- Arts, exceed in number the famed list of Lion Gogn- iet. No fewer than 112 exhibitors of the Salon of 1886 signed them- selTes '^ Pupil of Oabanel. These are as yaried in style as they are numerous, which is an indication of their teacher's greatness as a master : he deyelope talent without making slavish imitators ; Bas- tien-Lepage/ H. Gerrex,' Adan,* Benjamin-Gonstant,* Gomerre/ Humbert/ and Beaume/ * illustrate the individuality of those he has influenced. Seven out of ten is often the proportion of his pupila accepted to enter into hge for the Prix de Rome.

His son and pupil, Pierre Gabanel, bom at Montpellier, has exhib- ited in the Salons from 1873 to 1884 the pictures  :

The Flight of Nero  ; The Death of Abel ; Nymphs surprised by a Satyr; Ship- wreck on the Coast of Brittany ; Mowers  ; Italians in Paris  ; The Prodigal Son ; Young Neapolitan Girl; Betdna; and Chiffoniers.

> Naturtllst. • Bustle Qenre. * Orientalist, «  Genre. • Mflltary Painter.

402 A HISTORY OF FRENCH PAINTINQ.

He has never more than diatantly approached the power of his father. He obtained a second class medal in 1873.

As MeiBSonier and G£r6me lead the realistic genre, so Bongaereaa and Gabanel are at the head of modem academic painting, and, as

William Adoiph. Bougwr.au l«^ers, thc prcsidencj and the vicepres-

(isas- ). La Rochaiia. idencj of the jurj of the Salons are meet

L^Hon. '59 h! c^ "" *^^' "^ "' '^ ^* "' ^equentlj adjudged them by the elec- Of. L. Hon. '76; Mam. intt '76. tors. Bouguereau has been called by

Klltgh^^f L^opL^a.. his admirers preeminently the painter

Com. L. Hon. '85. of flcsh. *^ The important point in art

Mad. Hon. 85 ; Pr... in.t. '8$. ^ ^ ^^4^ Q^^ ^^^^ figurc/' said Ben-

vennto Cellini, and Diderot, the great critic of the eighteenth cen- tnry, is quoted by a recent writer as forcibly illustrating this attain- ment of Bouguereau :

" It Is flesh that it is difficult to render ; that substance unctuous, whiter uni- form, without being pale or faded; it is this mingling of red and blue, of imper- oeptible moisture, which forms the despair of the ooiorist ... A thousand painters have died without baring comprehended flesh, a thonaand otheis wiU die without comprehending it."

Other critics, of more technical leanings, do not agree with this enthusiasm, it should be said. Bouguereau certainly prodoces in flesh-painting surfaces so smooth that they seem waxed or enamelled. He makes ** figures in faience. And if Oabanel and Lefebyre are not in this respect his successful riyals, Henner may be so called. But knowledge, taste and refinement are his constant qualities, and from these he deriyes a constantly serene elegance of manner. He was early imbued with the yalue of the classic line and the academic figure, and his skill in composition is always marked. Many of his compositions are delightful considered as pure arabesques. In the sharply defined differences and the hot discussions of principles main- tained during his early years, he was enlisted, through the influence of his teacher of drawing at the College of Pons, on the side of the followers of Ingres before he was old enough to judge of its merits. The thorough instruction in drawing there receiyed ena- bled him subsequently in the drawing school of Jean Alaux of Bor- deaux, though attending only two hours after his daily buainesBi to win the prize from the full-time pupils. These had treated the partial worker with disdain, and now refused to submit to this deci- sion, but, though a riot ensued, the decree was sustained. The lad now felt encouraged to adopt art as his life work. His parents in- formed him that he must, in that eyent, support himself, as they had

THE NINETEENTH OENTUBT. 403

no means for that purpose. He resorted to Samtonge, where he had an nncle^ a priest, and where no painter had been before, and there, by painting portraits at fifteen francs apiece, he acquired the sum of nine hundred francs, and entered the studio of Picot in Paris until qualified to enter in 1843 the £oole des Beaux-Arts. Here he competed for the grand prize in 1848 and 1849, but failed, obtaining in 1848 only the second. But in 1850 his perseyeranoe was rewarded by his receiring one of the duplicate prizes of Rome of that year, resulting from none having been given the year before, and set out for the Villa Medici with Baudry, to whom the other was awarded. All the tendencies of his art instruction had prepared him to follow in the direction of the great masters. With this influence he combined a decided taste for mythol- ogy, shown by his pictures bofch then and later. But at the close of his four years' pensionate (1854), he produced The Body of St. Cecilia Borne to the Catacombs. His fame dates from this. It is now in the Luxembourg, where he also has a Birth of Venus, of 1879. But he did not touch the hearts of the people until he painted, or rather conyentionally idealized, the country characters of his own land and tima His treatment of these is the very opposite of that of Millet : he introduces elegance into his rendering even of a barefooted peasant. Imposing line, so thoroughly impressed upon him by his training, dignity of bearing, agreeable disposition of masses, enter into all his renderings of these subjects, until ^' they seem like rustics transformed into princesses ** — ^f or it is woman that usually forms his subject. But this execution imposes itself, and stands between the characters and the obsenrer. This treatment renders his practice somewhat that of the neo-grecs, familiar in incident, classic in execution ; but his qualities are better adapted to less realistic subjects, and with him, as with Cabanel and others, the renewal in classic forms of the ideal treatment has become, instead of the neo-grec, the more formal aca- demic. In Bouguereau's works it maintains high value. His com- position is always fine, his color clear and fresh, if neither rich nor subtle, his drawing '^faultily faultless " — *^ despairingly perfect, sigh his fellow artists, who neyertheless distrust its finish as being for finish's sake. And in sentiment his figures are so placid and sincerely destitute of feeling, that he has often been accased of painting the merely pretty. Howeyer, it is not the trivial, and his pictures always possess the charm of that elegance which inyariably confers true dis- tinction.

His works are yery numerous  ; among them is every form in which he can present woman and child  ; be it a group treated allegorioally  ;

404 ^ HISTORY OF FRENCH PAINTING.

a Venns and Cupid ; the Madonna and Infant Ohnst ; Oharity with her foster children  ; or, even^ a common mortal mother ennobled by maternal loye. Charity is often repeated in slightly varying formfl. One, Alma Parens (1883^ Mr. G. L Blanchard, of New York)^ repre- sents nine children grouped aronnd a woman, from whom they draw nourishment and whom they fondle with aflFection, but who, cold, unmoyed, seems really only to tolerate them. His Madonnas haye charmingly presented four, at least, important phases of the Madon- na's character.

One of 1875 glTes the blissful content of motherhood; one, A Pietft» of 1879, the sollerings of maternal love; one, La Yierge Gonsolotrice of 1877, the tender B3n3ipathy for a mother bereaved ; at the feet of this Vligin lies the corpse of an infant; tiie mother, a bride (Bongaereau's bride, for this was an expression of his feeling at the death of his wife and child), has thrown herself in an£pnigli across tiie Holy Mother's knees, while the sad, sweet ftuse of the Virgin is raised to heaTeii in tenderness and prayer. The fourth phase of the Bfadonna's life is given in Ia Yierge anx Anges (1881), ' in which she is visibly cherished of Heaven : the Madoniift and child are sleeping while angels attend with music and gaze with earnest lore at the infant. It is also called The First Christmas Hymn, of which it is a charm- ing presentation. Angels, tenderly and devoutly, with instruments and vetoes, soothe the Infant and the Mother as they recline— and thus snpposably initiate the hymn of coming ages. The Yierge Consolatrice was bought by the government for the Luxembourg, at 18,000 francs. The artist had refused twice that sum from a private purchaser.

A Pietd (1876)^ belonging to Prince Demido£F ; Zephyms and Flora (1875); Maternal Solicitude; Going to the Bath (1865), Young Woman Carrying a Child  ; An Italian Mother and Child;* Woman with a Child  ; Fording the Stream ; ' A Bather ; Woman and ChildX1870) ; also A Bather (1875), are other illastrationa of this cto of subjects. In the Salon of 1883 a figure of Night hovering over the earth suspended in space, was a very beautiful variant. An even more charming one was Love and Youth (1877), in which Oupid ridei on the shoulders of a nude and graceful nymph, whose extreme youth is indicated by her delicate and slender figure as the young god roguishly draws back her head to kiss her. A Nymph Combating with Cupid, who has apparently fallen upon her ** out of a clear sky," is a less placid form than usual with Bouguereau. But this same dasB of subject in an Aurora' exhibits a painting of flesh, beyond which in text- ure, color, and flexibility, skill of technique, from the strictly academic

> This was sold from the Seu^ CoUection (New York, 1S85), for $9,000, 1ml Is asaioi owned hy Mr. Seney.

• Property of Mrs. M. A. Osbom, New York. 'ItakL

THE NINETEENTH CENTURY. 405

point of Yiew, can no farther go. Poetical conception unites in this instance with these to produce a picture of great grace and beauty. In the early light his oft-recurring beautiful woman, as Aurora, a creation worthy of the service assigned her, that of ushering in the mom, is caught at the moment when, floating over a stream from which she is reflected in the perfectnees of her existence, she gayly holds aloft with her left hand a filmy drapery, and grasps, with her right, as a mere incident of the moment, the tallest of a group of callas on the bank and gazes into its depths. Biblis gracefully bending over the fountain into which she is changing, Bouguereau's picture of the Salon of 1885, with The Adoration of the Magi, won for him the Medal of Honor. It is in his best academic style. In 1884 he sent to the Salon The Youth of Bacchus, a very large picture, with sixteen nymphs of Thraoe, the young god's attendants.

Some of Bouguereau's subjects represent a greater power of feel- ing and more animation of sfcyle than his sedate, placid pictures of a woman and child, which are, neyertheless, of exquisite modelling though sometimes rather definite in outline. Le Nouyeau-N6, sold from Mr& Stewart's Gtdlery, 1887, represents in a tender manner a gentle shepherdess who carries in her arms a newly-born lamb, and turns to reassure with kind words its anxious mother who follows at her side. Of the painter's classic subjects, The Satyr and Nymphs is perhaps the most charming.

In a thioklj wooded dell four frolioking nymphs are seekiiig to poll by arms, ears, horns, and hair, as may be, a Satyr into a stream  ; one, clinging with one hand to his hair, turns with a magnifloent npthrowing of the other, and halloas to a group of nymphs, quietly seated in the distance, to come to the sport. Here Bouguereau has indeed ** comprehended flesh," at least as material for his own expression if not in the color and quality of nature, and in all the varied attitudes the frolic demands, in the sunlight and shade of the situation, has made it palpitating with life. But a critic says justly that " the faces of these tpirUueUes creatures do not indicate the innocent naiads of the stream or dryads of the wood, but simply a new rOle for the informed Parisiui women of the nine- teenth century.**

Bouguereau was early a successful decorator. On his return from the Villa Medici in 1854, he decorated the drawing-room of M. Bar- tolomy, then the H6tel Pereire, and the churches of Sainte Olothilde and Saint Augustin. He follows out all his aptitudes in art with assiduity and thus has acquired a wonderful success. So great is this that he may be said to hold the public in allegiance to a style it was turning from, to the classic practice it was condemning, and to

406 -A mSTORT OF FRENCH PAINTING.

stay it in its haste to pay fealty to the impressionists and the realistsL The honors which are loaded upon him, while he serenely upholds the banner of the classicists, prove that the age still has appre- ciation for the historical and academic style. He is member and president of the Academy of Painting of the Institute, and, in 1885, owing to that section haying its turn in precedence, became presi- dent of the entire Institute. This appreciation is also attested by the statement of publishers that he is a ^'porte-bonheur, or charm of success, that they earnestly seek to secure for their illustrated works.

A view of woman, as Ohaplin presents her, is *^ quite other than woman under the pencil of Henner, Lefebvre or Bouguereau," the

blonde Parisienne, with a tinge of the eighteenth 08*5** )!**Andtriyt. ocutury iu her attitude, her expression, and her M«d. 3dci. 1851. general aspect. The Louis Quinze traits of his

L* Hoi?%^*of'v57 women, and the feeling of chivaliy of which he

has even forced the note and emphasized the accent," would never suggest that this seeker of beauty, this ardst of harmony of color, of an eye for subtle changes of tone and tint, a power of consummate modelling, and of a quick sense of grace, had in his early art, that of 1848 and 1849, painted strong, rude figures in sombre tones. Among these works was even a DroTe of Pigs of 1851, which in 1886 he found marked Millet, and, feel- ing highly honored, o£Fered to buy, but which the owner prized too highly to part with. Now he has so eminent a gift for fastening upon his canyas the unseizable, fugitive qualities of graceful women in their varying phases and forms, and of catching the lines and poses that give the greatest charms of elegance and fascination to his figures, that his pictures of blonde heads, it has been gravely asserted, greatly stimulated the fashion of artificially producing blonde chevelurea where nature has denied them. Chaplin has also been a frequent painter of decorations, for which his qualities are specially adapted, as shown in those of the private apartments of the Empress at the Tuileries. His portraits rise in number into the hundreds. Many women have sought instruction from this master who paints the society woman's beauty with so much enthu- siasm. Madame Desaux (Henriette Brown), Madame Berthe D6- lorme, Mademoiselle Louise Abb6ma, and the gifted Madame Made- leine Lemaire, whose art exhibits the grace of her own feminine qualities with an added masterliness of representation, haye learned their technical skill of Ohaplin.

THE NINETEENTH CENTURY. 407

Lefebyre and Henner are conspicnoos as painters of the figure. Unlike G6rdnie, they ^'sing the poem of woman/' it has been

poetically said, a remark which is especiaUv tme of (1834- ). Tournan. Henncr. Lefebyre is an adyanced and scientino Prix d«  Rom. '6i, gtudent of form ; the anatomical correctness under- L*Hon. '70: Of. '78. lying his smooth finish constitates one of his chief M«d. irt ci. E. u. '78. excellences. He has aimed to paint with true sim- plicity^ to make use of a Greek treatment in sub- jects of wholly modern interest^ and he thus imparts a subtle refine- ment^ a classical outline and sentiment to his figures, and makes them such as could well be repeated in sculpture. He returned from his pensionate at Bome in 1867, and in 1870 produced his masterpiece. Truth, now in the Luxembourg, where is also his Nymph with the Infant Bacchus, of 1886. The former is thus represented :

Against dark roolcs that indicate the tabled well from which Truth emanatefl^ stands the dassling nude fignre of a maiden, who with reeolutely outstretched, hand holds aloft Truth's mirror with light radiating from it. Abundant hair flows from her beautiful, firm-eyed, almost stem face  ; the superb figure, attitude, and expression impress one with a strong sense of the dirinity of a nature that^ eyen in all the stolidity and strength of the figure, " might soar but yet remains " to reflect upon a darkened world light from her mirror.

It has been aptly said that Lefebyre sees beauty through a veil of perfection, for he produces his figures with an almost instantaneous completeness. But at one time his art seemed in danger of losing itself in a yague attenuation of form. He painted eyen a yapor, The Dew and a yapory Dream (1875). This is a fantasy, a figure of great transparency hardly retaining form, as she rests on the mists of the morning and is dissolyed into them. Of late years he has returned to the terra firma of a more prosaic treatment. His skilful and deli- cate painting of fiesh and his fine characterization render him a dis- tinguished painter of portraits, to which his poetic sense of elegance will, if his subject be a young woman, allow none but graceful, wil- lowy form, and which also he poetizes by a rendering of accessories of conyentional forms and significance— setting, for example, a young girl in a thickly grown daisy field, a more mature sitter among high growing roses. The Toilet of the Bride in the Salon of 1883 was painted in honor of the marriage of the daughter of the owner.

The girl bride sits distrait, a classical figure in fleecy white, while of two sisters^ one in green at her feet clasps her flngers, and one In robe of old gold together with a brother looks on, while the mother weayes the flowers for f*«<»tiing the yeiL

408 A HISTORY OF FRENCH PAZNTING.

Lefebyre was a competitor with Jnlea Breton for the chair of the Institute No. 9 made yacant by Bandiy's death in 1886. He has had every awards that of the Grand Medal of Honor haying been voted to him that year. When bat thirty-fonr his claims to it disputed thoee of Corot. They each receiyed an equal number of yotes for seyenl sucoessiye ballots^ when it was determined by Lefebyre's yotes being giyen to Brion.'

His chief works are as follows  :

Of sixteen portraits up to 1887, twelTe were of women. 1861, Death of Ptiam; Christmas five: 1864, Roman Charity, Melmi Museam : 1866, Pilgrimage to Saoo Speoo; Church at Subiaoo; Qirl Asleep: 1S66, Nymph and Baoohus (Loiem- bonrg) : 1868, Femme Couch^. owned by Alexandre Dumas: 1869, Pasencdi: 1870, Truth (Luxemboui^) ; Le B^reil, a ceiling for the bathroom of MadMne de Cassin: 1871, The Knitter; Italian Figure; Two Panels of Italians SeUisg Fruit : 1872, Italian Woman at the F6untain  ; The Grasshopper ; Two Panab, an Italian Woman and a Sappho: 1878, A Bacchante; The Dsu^ter of the Brigand ; Italian Woman: 1874, Slave Cazrying Fruit (Ghent); Woman Bathing; The Orangery; Portrait of Prince Imperial: 1875, Italian Knitting; Italian at her Toilet ; Two Panels ; A Dream ; ChloS: 1876, Two Panels for the King of Hol- land ; A Panel, the Lemon Seller, belonging to M. GuiUaume Velay ; A Laiigfa- ing Girl (Amiens Museum); A Hunting Nymph: 1877, Tyionne, belonging to M. YanderHagen: 1878, Gdalisque: 1880, Portraits; Esmeralda: 1881, Ondine and Fiammetta: 1883, The Portraits; April Flowers; Fiammetta (Musee de Vienoa, Louvre); Pdyohe: 1888, Two Portraits: 1884, Three Portraits; Magdalena; Aoioia: 1886, Laura: 1886, Two Portraits: 1887, Two Portntits ; Morning Glory, owned by M. Knoedler & Co.

Lefebvre and Henner were riyala in the oompetition of 1868 for the Prix de Rome on the subject Adam and Eve Finding the Body o( Abel, which as painted by another competitor, Bonnat, commanded much notice ; but Henner won the prize, Lefebvre not succeeding until 1861 with the subject The Death of Priam. It is related that in the competition of 1858, after the loges had been opened and the pic- tures exhibited, Henner, whose pension from the Department of the Upper Rhine had, because of his age, then expired, went to Horace Yemet on the strength of his having commended his picture (for Yemet was the Academician in charge of that year's competition), and requested his signature to a recommendation of a renewal of the pen- sion. Yemet refused, and to the surprised and aggrieved Henner

• Lefebvre had the lai:g;e6t vote Id 18S7 from the society of his fellow artists for tba

jury of admisBlon to the Beloii) one thousand four handred and eighty-six voting for him. Laurens, Bonnat, Breton, Harpignies, Puvls de Ctaavannes, T. Robert-FIeniTt Henner, Bouguereau, and Cabanel follow In order as the first ten of the forty ehoeen* Lefebvre, Laurens, and Jalabert were that year on the Joiy for decreeing the Prix ^ Rome.

THE NINETEENTH CENTURY. 409

explained^ What need of a pension when the Prix de Borne is to be yonrs  ? " Henner's charming rendering of the qualities of flesh and in j».n jacquM Htnn«r many instanoos " Bembrandtish impinging of

(i8a9- ), B«rnwiii«rt. light," make thronghoat the large circle they

Prix d«  Rom«  '58. - , . . . • |_. _

M«d. 3d ci. '63 ; M«d. '65, '66. form, most Winsome acquaintances of his many itt ci. '78. E. u. NymphSy subdued Magdalens, sportiye Naiads,

L. H. '73: Of. L. Hon. '78. ^^^ Reading or Weeping Women. They are like

dreams, in which fancy following impression reproduces only what we love to dwell upon. By their beauty, clarified of earthly sag- gestion, his figures entrance us, charm us into lingering around them until we lose sight of the limitation implied in the fact that his brush, haying once given birth to such creations, refuses to produce aught else, and that every Salon exhibits from Henner a new nymph, but with, if possible, a new grace. Thus his subjects are not varied,

• • his Orphan of 1886 aeoming to be his Fabiola of 1885 put into

mourning," for example, as was remarked at the time it was exhib- ited. Subject is of little importance with him ; rendering is every- thing. He is of the most modem accent in art, the realistic ; but he mingles an inspiration of the antique with his truth to nature. This gives him a realism that is truly poetic, made up of the actnal physique and the chaste dignity of primeval innocence. '^ Of what pure snow from the summit of the glacier has Henner formed this beautiful, flaming p4te of which he has made a feminine nudity, enthusiastically wrote Boger Ballon of his Magdalen of 1878. His ^' pure snow " consists in the accord of tones, the rhythm of lines, and the harmonizing of all, without passion, though of great tender- ness of feeling, which form his creations. For them he has called the flowers of various nations' attainments in art. His flesh tones are Venetian, his grace is Oorreggio-like, and he wraps his figures in almost a German reverie. Advancing and improving his system he now in his demi-tints makes use of a shading so slight, that while it serves to model, to develop all the saliences of form, it escapes observation except by a quickened glance, and leaves his figures beautiful creations of form without the means being apparent. He makes skilful balance of parts in giving what seems but the position of natural abandon even in a sleeping figure.

Early, even while at the Villa Medici, he acquired the custom of placing a sombre mass of trees in his pictures, which may be distin- guished by this mark almost as by a signature. But, what is more important, it serves as a lower note in his gamut of color. He is very positive, very convinced in his methods, and he always charms. His

410 ^ RISTORT OF FRENCH PAINTING.

Reclining Woman, the second of his envois from Borne (1861), at once gave him rank as a master, and his Alsace (1870) signed^ ^' Bj an Alsatian of Bemwillers/' popularity. But his Idyl (18TS) marked the high tide of a success that has known no ebb.

Alsaoe is Bxile incarnated  ; a woman with a face of grief and power, weanng the French tricolor on the black robes of her mourning. The sentiment given in the words, " She waits," expresses the feeling of the province wrested from France and compelled to pay fealty to Germany. This piotore made the toor of Europe and was welcomed ererywhere with great interest

In The Idyl, two maidens innocently clothed in an ignorance of clotiies, one piping on a reed as she sits by a fountain, one standing to Usten, present in the peace and calm of natare the nobleness of antique figures. Here as elsewfaeie Henner seems to feel the fuU influence of the natural harmony of the human figure with foliage and open air lights.

This, with Susanna (1865) ; The Good Samaritan (1874) ; and A Naiad (1875), expresses in the Luxembourg the state's recognition ol his artistic power. He has also developed fine power in portraiture. His talent was early apparent. At fifteen he painted a portrait of The Bemwillers Carpenter, which he still proudly retains in his studio. His &ther, contrary to custom, sought to derelop his son's artistic tendencies ; he had heard of artists being supported by the goyernment, sent to Borne for instruction, and returning to become great and honored. '^ And why not our Jean Jacques P reasoned he. He bought old pictures ^* for Jean Jacques' " instruction, and at his death called his children around him and said, I would work witii my hands to make an artist of your little brother. Promise me that you will do it for 'le petit.'" They did it; Henner exhibited in 1881, painted in a coarse woollen working garb, the portrait of one of them who still lives in Alsace, and it still hangs in his studio as " My Brother." It is related that he often yisited Alsace  ; comforted his dying mother with most personal attentions, combing her hair and winning from her the exclamation, Ah, my son, what should I do but for you I " He was a pupil of Drolling, Picot, and the l^le des Beaux- Arts. Other works are  :

Bathing Girl Asleep (1868, Oolmar): Girl (1860): BibUs (1867), Dijon: Woman Dressing ; Woman Reclining, Molhouse Museum; Little Writer (1869) : Magdalen in the Desert (1874): Dead Christ (1876): John the Baptist; Evening (1877) : Christ at the Tomb  ; Eclogue (1879) : The Fountain  ; Sleep (1880) : The Spring  ; St. Jerome (1881) : Bara (1882) : Woman Beading  ; Nan (1888) : En- tombment ; Weeping Nymphs (1884) : Magdalen (1886) : Fabiola (1885, a head yelled like Carlo Dolce's Mater Dolorosa and, in its way, as beautiful): Orphan; Solitude (1886) : Herodias and A Creole (1887) ; the last was acquiced icft the Lnx- embourg and The Ghxxi Samaritan removed to a provinoial museum.

THE NINETEENTH CENTURY. 411

Got, haying been first instrncted in the School of Fine Arts at Toulonsey entered the studio of Oogniet at Paris and became also the pupil of Cabanel and Bouguereau. Into their style of charming

linesy he infused a lightness and grace and pro- (•837-'83), B«daru«x. duccd ideal pictures, regrettably few in number, of M«d. '70 ; ad oi. 'n, and great attractiyeness. He is as truly a neo-grec as , . on. 74. j^y ^j ^jj^ group just subsequent to 1848, to whom the name is appropriated. As delicate as Cot's treatment " has become a common comparison. He had all the physical features, black, fiery eyes, dark gypsy face — ^nor did his mental traits lack the lively imagination— of his southern nativity. At the age of fourteen he had painted a portrait of his grandfather of remarkable drawing and depth of expression. In 1868 he exhibited a scene from Ovid, Salmacis and Hermaphroditus.

HiB Spring of 1876 is a graoefol ideaLudug of the springtime of love in the springtime of life in the springtime of the year, with a great power of technique, that makes the sonshine fall upon and around and behind the forms of a yoath and maiden, children in their teens, swinging in a Grecian garden, he dingbig to the swing, she clinging to him. It is rendered in the neo-greo manner, •. «., the Ghfeek embodiment of a modem thought and feeling, for, though first love can- not be appropriated wholly to modem life, this picture has in it what we feel and class as modem, even though the regard of the girl intently ftotened upon the eyes of her companion, in its unconscious betrayal of how fudnated she is with a taste of the great passion that moyes the world, has an element of the ncSheU that is attributed only to primitive idyls. It has directness, simplicity, and none of the coquetry or interested affection of the modem belle. To this is added an idyllio clothing of the figures, as the maiden is wrapped in a transparent gaose fall of sunlight; and an idealistic rendering. The couplet,

O primaveia, gioventud del anno t O gioventud, primavera della vita t '

has been very graoefuUy appropriated to it. In the Salon of 1873 it created a world-wide reputation and was bought at once by Mr. John Wolfe of New York, and at his sale by Mr. D. G. LyaU of Brooklyn, in whose gallery it now Is.

Cot's charming renderings are further illustrated by The Storm, begun under the popularity of The Spring. In it a youth and maiden, a veritable Paul and Virginia, hasten to shelter, both under the same improvised cover of an upheld garment. It was immediately bought by Miss Catherine Wolfe (a sister of the owner of The Spring), and now forms a part of her legacy to the Metropolitan Museum^ New York.

• O Bpringtlme, youth of the year !

O Touth, springtime of life I

412 A HISTORY OF FRENCH PAINTINQ.

Got in his late work took up portraits, in which his skill is highly valued, as is shown by the character of his sitters, the Dachesse de Bichelieu, Marqnise de Oars, Baronne de Lagrange, Dachesse de Lnynes, Princesse Blankedet, Due de Sabran, General Pimodan^ M. de Colbert^ and many others. His MirSille of 1882 is iu the Luzem- boorg. At the age of forty-fiye he died suddenly of a pulmoDary disease when at the height of promise and left few works besides portraits. For the Salon of 1882 he exhibited a picture of twenty figures, Elizabeth of Hungary and her Beneficiaries. Those not previously mentioned are :

Poverty (1808): Meditation (1870) : All Souls Day at the Gampo Santo of Pin ; Dionysia (1872)  : Magdalen (1875).

The particular strength of Bonnat's style tends to bring out in other works, seen beside it, an apparent weakness. His art is . , . ^ ^. . „ extremely realistic, and, though he paints

Lion Jottph Flor«ntln Bonnat -^ . . , , , f -av

(1833- ). Bayonn*. many genre pictures, he may be classed witli

M»d. '«i, '63 ; ad ci. '69. thoso achieving greatness in figure-painting,

L. Hon. '67 ! Mad. Hon. '69* ^ i* i>«i j*j«  1

Com. L. Hon. 'Sa. amoug whom his essential characteristics place

Knight of ordar Laopoid '81. him, Thosc are a superb, sculpturesque mod- elling, with a realistic treatment of surfaces ; a rich and often sombre but luminous coloring ; vigor of drawing ; expressiveness of heads and breadth of forceful handlings and they give him, notwithstanding his strong realism, an elevation of style. His work is, however, frequently open to criticism for its violently defined anatomy and intense blackness of shadows, though these aie less apparent in his smaller pictures.

Bonnat spent his youth at Madrid under the instruction of Kad- razo and of the masterpieces in the galleries there, and on them his art is frankly based and his style is as much Spanish as French. Bat he went to Paris at the age of twenty-one, as, not a native of Spain, he could not avail himself of the advantages for pursuing art confe^ red by the Spanish Government. At Paris, a pupil of L. Cogniet," he won only the second prize of Bome, in the competition of 1858, but his native town at once assumed his expenses at Bome for the term allowed by the prize. His early works, chiefiy subjects from Scripture, were not noticed, but in 1860 the exhibition of his Adam and Eve Finding the Body of Abel, executed in 1858 in competition for the Prix de Bome, attracted the appreciation of artists and was booght by the Government for the Museum of Lille. It was of fine composi- tion and color^ but somewhat hard in modelling. Its great interest lies

THE NINETEENTH CENTURY. 418

in the feeiing he has thrown in the face of Eye, who, with the fine robnst figure of Abel drawn across her lap, sits wondering at death, not understanding it. He won further reputation by the figure of an Italian girl called Pasqua Maria, exhibited in 1863. It attracted all away from The Martyrdom of St. Andrew, by the same artist in the same Salon, and, haying touched the sentiment of the public, led him from Scriptural subjects to painting Italian genre somewhat in the manner of Hubert, but without H6bert*s tinge of melancholy. Many of his pictures are illustrations of maternal loye in the manner of the simple, eyeiy-day loye of the common people. In one of them. Tender* ness, of 1870, the familiar act is best described by the familiar phrase, '^ a little girl hugging her mother and with her whole heart in it." But a dream of his youth, fostered by his studies in Italy, led him to historical painting simultaneously with the painting of these simple subjects, and, in 1865, he exhibited Antigone Leading her Blind Father, (Edipus. The public, more charmed with the simple than with the grand, turned to his cabinet pictures. In these his method often is of a remarkable delicacy, as in Pilgrims at the Feet of the Statue of St. Peter, of 1864, and Neapolitan Peasants before the Famese Palace, Bome, of 1866. Indeed, he has seldom equalled in mastery and felicity of expression the works which he produced while in Bome. He paints portraits with great power. Among these are  :

Thiers (1870), which has been eztravagantij eniogized as forming with Ingres's Bertdn the two portraits of the century: Victor Hugo (1879): President Qt^rj (1880): L6on Oogniet (1881), Lozembourg: Hon. L. P. Morton (1888): M. Pas- tear ; M. Delabord, Secretary Academy of Fine Arts (1886) for the Academy: Alexandre Damas (1887) : Mrs. Edwin Litchfield (1888).

His Fellah Woman, 1870, one of six Eastern scenes which fol- lowed an excursion to the opening of the Suez Oanal, shows by the modelling that admits the eye to all the recesses of the form — even to pass around and behind the figure — ^the science which Bonnat commands for his brush, making of it a sculptor's tool. In this way his pictures become aboye all else real. A mother, whose child clasps her forehead with lean arms, stands hopeless and aimless in the Egyptian twilight amid the exhalations of the Nile. The artist sketched this figure from nature, and it is of a strong, statu- esque symmetry : eyery minutia of local perspectiye is clearly ren* dered. A similar example is a smutty Arab Plucking a Thorn from his Foot (Mrs. W. H. Vanderbilt, New York).

Besides seyeral pictures of religious subjects painted for the

414 ^ HISTORY OF FRENCH PAINTING.

Govemmenl;^ Bonnat has exhibited in sixteen of the Salona, siiioa 1859, twenty-four pictores of yarions subjects, as  :

The Fint Steps of Childhood (1870): A Negxo Barber, and Wzestling of Jaoob (1876): Christ on the Cross (1874): Fellah Woman ; Streets of Jemaslem (1870): Sheiks of Akabah ; Woman of Ustariiz (187d) : Turkish Barber; Sohficao (1871): Job (1880): Martyrdom of St Denis (1885).

His Christ on the Gross, in the Palais de Justice, Paris, is the work for which he is most celebrated and it is most remarkable. It stands as a representatiye picture of modem realism in art It was painted from a dead body on an actual cross in the court of the School of Medicine, and it is a body under tortures unelerated by the resignation of a soul in the consciousness of serving a great pur- pose. It seems to be the last effort, and Bonnafs sculpturing brush gives in high relief every filling vein and swelling limb.

<<Dor6 demands a volume rather than a paragraph," says a critic, and a compromise between the two must be accorded him. Bonnat's realism serves as a connecting tie with him, an artist by gift of nature, an Alsatian by birth, a Parisian by education,

and whose original name, Dorer, was changed by (i8M-'83).*str.tbourf . ^^ ^ the Freuch form. He is considered of the L. Hon. '6i. French School, but he is of such ingenious inven-

H!>n!"M«n"'«7f E. u. *^^^> ®^®^ Varied subject, such versatile thought,

such sensuous temperament, such grotesque humor, such erratic plan, such weird imagination, such prolific production, and withal, so unlike others of the French school in the importance he gave to light and shade, in his absence of the color sense, in inde- pendence of academic technique, in his disregard of the French fond* ness for the pretty, and especially in his inculcation of a moral, for which he acquired the sobriquet '^ Painter Preacher, '^ in London, that, while no other than the French could have produced him, he is hardly of that school, but stands quite by himself. Through some strange atavism, in him seems to have burst forth the old Gk>thic invention, which in medisBval times was so fecund in grotesque production. He early began to indulge his artistic propensity. At an exhibition of his works, in March, 1886, lithographs executed by him at fifteen years of age were shown. Yet simultaneously with his inclination to draw all he saw or conceived from reading, the child's histrionic powers, passionate love of music, and attainment in its performance, were such that they precluded all prediction in his earliest years that he would be other than an actor or a musi-

THE NINETESNTH CENTURY. 416

dan/ His father opposed' his artistic tendencies, prohibited his studying drawing in the schools, incited him by prizes to effort in other directions, and sought to suppress the mother's constant excla- mations that the lad was a genius. But the extraordinary child became the extraordinary artist, and his many impressiye characteristics are worthy of deep interest — ^the more so, as a fundamental difference of the French and English schools of painting is indicated by the one's rejecting and the other's adopting his works.

One of three gifted sons of a prosperous civil engineer, who liyed during Gustaye's earliest years under the shadow of Strasbourg Cathedral, and who took the child constantly with him on his busi- ness expeditions into the pine forests of the mountains, the boy's pro- found love of nature, which eventually developed into a remarkable power of interpreting landscape, and his vivid imagination were thus brought under the influence of the dismantled castles of the Hhine, and constantly nourished by the weird suggestions of its cathedrals. The traits of the man can be traced in the child from his earliest year^ and are so integral and of such spontaneity, that it seems diffi- cult to see that Oustave Dor6 could be other than he was, or do other than he did. Intensity of nature is, perhaps, the key-note to this remarkable man. Passing by the trait of benevolence, which led him at the age of seven, in the depth of winter, to give away his shoes to a boy whom they just fltted," and return home with bleed- ing feet, and, in mature Uf e, not only to make large donations, but habitually to give his time on New Year's day to amusing the chil- dren in the hospitals of Paris ; also his uprightness ; and taking those qualities more directly connected with his art — though his upright- ness made him the conscientious worker on the cheap illustration, as well as on the more important work — we find from his earliest years an insatiable power of invention and creation, impelling him to an executive performance that all his life kept the public wondering at his achievements. It made his passage through life like a mete- oric shower, for the quickly recurring brilliancy of which those in authority had no time to think of awarding medals and honors.

• In Doit's drawing-room In Paris, among many other gifts, there was at his death

a photograph of Rossini, on which was written  : *' Souvenir of tender friendship pre- sented to Oastare Dord, who Joins to his genlos as a painter and draaghtsman the talents of a distinguished yiolinist and a charming tenor, if yon please. O. Bossinl.'* —Life of Dor^, by Blanche Roosevelt.

• Dor^ recalled this when, disappointed of saocees, he said towards tbe end of hia

nfe, " I was told when but so high," holding his hands about three feet from the floori tliat painting would be my despidr."— Ibid.

416 A HISTORY OF FRENCH PAINTING.

ThuB, in spite of all his saooesaes, his sensitiTeneas oonld not but saffer from the want of official appreciation.

This inexorable genius, a kind of demon within, demanding expiee- flion for its imaginings, kept the lad writing and illustrating his litUe tales, as in a series of sketches before he was eight years old. The Bril- liant Adventure of Fouilloux, the dog of Madame Braun, a friend of the family; or playing his yiolin ; or making a theatre at Qraffenstaden, the home of his life-long friends, ** the Kratz boys ; " or repeating^ as a celebration of his teacher's birthday,' the f^te he had seen at the unyeiling of the Gutenberg statue in Strasbourg ; or acting the mimic ; walking on his hands ; or performing some other of the acrobatic feats into which he readily slipped all his life ; ' or playing pranks * and practical jokes that partook of the fantastic.

The fantastic, indeed, formed a large element of his inventiye pow- ers. This was especially true of his early life. But an inrention so pro- lific must needs find its creations in a departure from the prescribed and established. From this inexhaustible invention there followed naturally an originality, marked even to grotesqueness ; versatility ; and readiness in all forms of mental activity, from witty repartee to the most ingenious devices of play/ Thus, when he showered his designs upon the public, until it was petrified with astonishment," none of them could be ascribed to others, for he could be neither imitated nor

> On this occasion being only eight yean of age, he planned a procession of fonr chariots drawn by some of the school-boys, while others filled them representing the trade guilds. He dressed himself in a Rabens hat and characteristic costume, snd stood as the chief of the glass stsiners' gafld in minlatore, as It were, tossing off among the spectators drawings made on the spot. These they were astonished to find were likenesses of themselves in groups or singly. This in mature life he playfollj claimed was his introduction in his profession to the world. Indeed, It was then first conjectured that he might become an artist.

• Upon the establishment of his motlier In the house in the Bne 8t. Domlnque (in

which they both died), at the first dinner, he sprang over the table in his Joy and thus broke a costly chandelier Just placed in position. But the omen of good luck in break- ing glass over the table was gladly accepted.

• Often at his dinners. At one when he had an Alsatian guest, a large p&t6 de fofe

gras which he had eulogised as the dish of his native city, upon being opened, released a bird and a guinea pig, both of which were active in their regained freedom ; st others, the claret decanters, to the surprise of the guest and Dora's own great merri- ment upon pouring the wine, assumed the r51e of muslo-bozes.— Life of Dor^ by Blanche Boosevelt.

• His ready device was iUustrated at one of ThtephUe Gantier's Thursday eveotng

receptions. He, with a few others, were presenting some tableaux with sln^y ths parlor facilities, when Hubert Joined the audience. " I have the word," said Dord, st once, and drawing various ones into position, assumed his own attitude, and called for the curtain to rise. At the first glaace the spectators ezdalmed, *' The MalaiiSi" wfald^ it will be remembered. Is H^k>ert's most famous painting.

J. J. LEFEBVRE

LE r6vE

i * <

I •

K  : ■:

. . , . ,. , ' • '■ • . ^. . . IX • . J,

. •• 1

t I

»  »

I

•' ■ ' . ' '!• I; '.; •■'../!• \«  : '

• * .1.1 i»f*' • «i'- *

.■•■...' 1 ' * . • \ . y'l .. *' ' i:;^ .

J. . ,, |.,...  :,...v^ ■:•••• I i ^'. -'T ti >^.

>

• «  * • * ' >

■ . ■"';,: • ■' .i-m;i 3:1 - ■■•:;••'; •

• ' r • •; 'f t"< '.j-A -t^M^ -;'  ;'«.<-■ i" 1'.' * in a' ' .•

' '•• - • I f t i . \' J* ,• ... M t,r '■•  ; '• T .;'.. 4i| I • I"*  »

.' .:..'•  !'*]».•• '.  !• I i" ^ ^"'.v.  !•  !.i t' r ♦* ' 'I'i. i ' -1 .'1 •; ...f 1 ' .- V* • ■< '^'f .ill H ■< .

• 1 ., , '. • ■ \:\< \. ■ ). .iif u. . • ■' *i'- h-»' .^» in ♦^•«   :*':■• '* 1

■» .J } i',\ *'• ' . . ' **-' •.. { ii"r  ?•. r ' N •'•..'■•. vv) f* t: r'lf ♦: .: >.«'..; '-\. "■ • .  ; i-'  ; r- -1 it • ^ •; ,;,. ->»•• r» •■ i...i.- • * •' •' -^ i.-

• 1 ...-.- -..•.,»' V ,. , . 1; . /.'  » • i.

■.:«  '. • -. /.: «■( ^, ' ii  »'• . .». , .1 . "i-'K. 1 ^u» '•' iL ' ' L «   ; ..«  • ' .; '• ' * • '.i f; ..f * . A '. . '•  »i- '• .'■. 'IT «•!! i "i: .

•. r .' i 1.  !  ?• ' • •» , J I' ' «i'  »vM. . ti  »\ '■ -*■ •. 0  :• th«-tr rt'^^'ai:* •! 'r» » ' •

••^ -J t -i •('..■♦ -i-' ,  »♦ •• >i •* '• '.♦•<>• if '.••• ^r u t. aiid D >r' ' '• ov •• 2 - .*

••■ . . ••: -•> (.v 'I,- f'. ^\ J.  :.<•" u I ♦f" *.'•*» '>f nrj5ic-'")\05 — l.if* . ' I«.

' >•-. • ti'v ^-..'i* *i^  :': ..tai- * it rmc v»f Th»«i»iiOe If.uitit-r'f' 'Ihn"«.-i v r •  !iv ^" li a r, V t»t..»'.r8. were nr"!507itM  ;' (i4:^.e tablea'. . "«' *.

<•. '.v.. Ml  »; .- \y,i.A . sr a!.l-i.io "I bare the ▼••^nl.'V- .1 I .:> •••;* "- vi.!i'>;T«  <>■ . •> iiiT( pii-iT;.>n, a.-^'j ru<l bb own a'i*tU'lo. .m . ■• -,'. A» ^fi C" *  :i .»rct< Ff-'-M iMi'tj «»'*'"1 med, **The M^iar.j •

• < I

THE NINETEENTH CENTURY. 417

approximated. But, though seemiDgly incompatible with a creatiye power that needs to remember nothing, he had a memory that forgot nothing.' This memory aided in the continual compelling to a third expression of his teeming ideas. But while he took no notes, he did instinctively absorb material for memory : he observed. He loved to staud quiet in the streets of his native city, passively sensitive to every impression of their current life. When in the mountains, also, as a lad with his father, or when in after years, on his summer tours with his mother, amid the scenes of greatest beauty he would become qaiet, silent, apparently stupid.* Earnestness, genuineness, and accom- plishment were necessary results of the fulness of fact and suggestion derived from memory and invention. There was no need of pretences, no room for them. Work, constant work in an absorbed concentra- tion, with a rapidity almost incredible, and once for the entire year of 1854, with an average of only three hours' sleep a day,' was required to keep abreast with his never-ceasing flow of ideas. And withal, from his earliest years, he seemed to have an intuitive insight into any matter or thought. Under the influence of this he devoured all knowledge and became without instruction or study * an artist famous in all lands, an improvisatore. Through this power of divination, too, he caught the spirit of the authors he illustrated, so that they, de- lighted, accepted his designs as translations,* and through these two together, the power and the application of it, he became really accom-

> Said Colonel Dadley Sampson : ** I waa introdnced to Dor^ at a dinner party. After a few commonplace compliments on my part aa to the honor of making hla a&> qnalntance, he said : ' Monslenr, this Is not the first time we have met. Three years ago we crossed the Channel together. Ton stood for the greater part of the crossing tslking to a tall man in a long coat, what you caU an ulster.' Surprise helng expressed at hlA carrying so trivial an incident in his brain so long, he replied : ' I have nothing to do with it ; it is stronger than I. When I have seen a face it never leaves me till I havet drawn it, perhaps several times.*"— Life of Dor^ by Blanche Roosevelt.

• Once, after several days of such absorption, a fellow traveller, Daubr^, said, <' Dor^^

you should be making sketches. Do you not care for aU this beauty f '* '< Come, you shall see," replied he. A few days later, after the delay of a rainy day, he invited Daabr^ to look at some pictures that represented In detail, with no feature omitted, the beauty of the scenery of several days' traveL He had painted them from memory during the one rainy day and the foUowlng night.

' The statement of a member of the family.

^ In later years (1874 about), when in response to the claim of friends that to be a painter he must correct his form by stn^y firom models, he had a model come to his studio and pose. After a little, she saw that he did not regard her, and after several hours of entire neglect she interrupted his absorbed work. " What, you here I " cried be. Do you want anything? " " I have had no breakfast," she replied, and made bim at last understand that she was posing as a model for him.

• Letter of Victor Hugo in appreciation of his Illustration of the Toilen of the Baa,

etaL

S7

418 ^ BISTORT OF FRENCH PAINTINQ.

plished in literature, and not onworthy, in some regards, of tiie appellation of savant.

As a result of his medisBval love of the grotesque, he early exhibited a fondness for demons and the weirdness of the lower regions. When in his boyhood he first saw the opera of Robert le DiaUe, he was fas- cinated by it, and delighted to repeat it, with the Erata boys, again and again, especially the scenes of the demons and spirits. Justice requires the statement in connection with this that later (1875-6) the face of Ghrist held him in a fascinated thrall that led him to paint it fifty times.' The truest aspirations of his life were in his later years drawn from religious subjects.'

To these fundamental characteristics of the boy, the solid educa- tion on which his father insisted was of incalculable value. At nine years of age he was placed in the Lyc6e of Bourg. There his knowl- edge of history was gained by illustrating it, of the classics by sketch- ing the scenes described, or, naturally, by translating them into his own language. Once when a recital of the Death of Glitns was made to the class, he presented, instead of the French translation required, a drawing which showed that he alone had understood the Latin de- scription. His teacher assigned him first place for his excellent translation.'^ With this early tendency towards an artistic career, he accompanied his father, when he went to Paris September, 1847, to place the son,  !^mile, who is now a colonel of artillery, in the j^le Polytechnique there.* Enthralled, Gustavo determined not to leave the fascinating city. Consulting no one, he hastened to Philipon, director of the Journal pour Rire, with some illustrations of the Labors of Hercules, hastily made after looking into Philipon's window as he passed one day. Philipon eagerly engaged him at a salary of 5,000 francs per year for three years, the father becoming responsible for the contract made by this legal infant." Thus at the age of fifteen he began his career, entirely without training, the want of the dis- cipline of which was to be a dark shadow on his life as a painter in France. His chief work now was, however, the continuance of his education, for which he entered as day scholar the Lyc6e Oharlemagne. His father had consented to the one that he might secure the other. Gustavo multiplied his designs to meet the multiplied demands created

> In this presence he dropped hia unstudied work, sod even made many aketcbes In seeking: to perfect his first conception ; It is a rare, perhaps the only Instance of his sketching before painting.

• See list of pictures.

• There he formed the friendship of Edmond About and of M. Tatne, whose Jcmaef In the Pyrenees he afterwards lUnstrated.

THE NINETEENTH CENTURY. 419

by his illTiBtrations for the Journal pour Rire, and supplied them to the Journal pour Tous, and to Panl Brj, who issued serials.

His mother, a widow in 1848, following him to Paris, urged him to study his art more thoroughly ; his father's friend, Paul Lacroiz, earnestly pressed him to study from models. He did not. Has he not shown that he could not  ? Ideas, keen insight into the essentials of life and character, withheld him from a devotion to accuracy of form. To that he could not tame himself, and he sped on, relying upon the ability, in which he neyer failed, to give life, motion, expression. He attained his ends by means which only genius commands ; his deficiencies are those of genius, such as the throwing off all restraints of rule  ; success with him required that he should be free. Besides the designs for these numerous journals, hundreds that were not used flowed from his fertile imagination. He now continued, au serieuz, the play of his school-days, and illustrated books. The first of these was Paul Lacroix's edition of Babelais.' In this, though begun at the age of twenty, he caught the humor, avoided the grossness, and subtly expressed the quaintness of the character. ^'All Paris" was resonant with the associated names of Rabelais and Dor6, '^the boy illustrator." Then followed Pierre Duport's Wandering Jew, and in 1856, with four hundred and twenty-five cuts, Balzac's Contes Drolatiques. This required a differ- ent handling of a theme similar to that of Babelais ; Dor^ accom- plished it in a wonderful manner, but he could not elevate the subject He also established the Musie Franco-AnglaiSy published in both lan- guages, to illustrate the scenes of the Crimean War. He continued until he had illustrated of English authors, Milton, Shakespeare (The Tempest), Coleridge, Moore, Hood, and Tennyson  ; of Italian, Dante and Ariosto ; of Spanish, Cervantes (Don Quixote) ; of French, Chateaubriand, Victor Hugo, Oautier, Saintine, Taine, Montaigne, and La Fontaine ; and he ^^laid the whole Orient under contribution " to illustrate anew for the nineteenth century the Bible. The Adventures of Baron Munchausen, The Marseillaise, The

> Lacroix told Dord one day early In his life In Paris that he should Illustrate a new edition of his works in four volumes, and he sent them to him. In a week Lacroiz said to Dordy who called : ** Well, have you begun to read my story f " <' Oh I I mastered that In no time, and the blocks are all ready," and while Lacroix looked on stupefied, the boy ** dived into his pocket with his slim hands, and piled many of them on the table, saying : The others are In a basket at the door ; there are three hundred in all." From these blocks so expeditiously done, Du Tacq, the publisher, selected some "fine and exquisite," and had them framed under glass. At this time much of his fine draw- ing was greatly Injured by unskilful engravers. Later he instructed some whose abUity satisfied him.— Life of Dor^, by Blanche Roosevelt.

480 A HISTORY OF FRENCH FAINTING.

(Jennan Bhine^ The Sphinx, and La Saint Bossie, a highly saicastic pamphlet^ may alao be enumerated. In The Wandering Jew the massed landscape, amid which the lonely, pretematnral man is impeUed by a power beyond himself, is very impressiTe. Dante's InCemo b the most remarkable of these, and for it he was decorated.' It is a wonderful comprehension of the poet's meaning and spirit for a youth, for he began it in 1855, though it was not published until 1860. He also brought all the drawings to an exquisite finish. Effort is necessary to form an idea of the fecundity of his genius. He had completed fifty thousand designs at the age of thirty-two. Working without preliminary sketches from pictures in the brain he would yet more so rapidly as to lose the appearance of work. Said M. Bordelin, his friend  :

" I haye seen Dor6 earn 10,000 franoB ($3,000) in a single moming. With fifteen and twenty blocks before him he would pass from one to another with a rapidity that was amazing. One moming he finished the twenty-first on the stroke of twelve, poshed his pencils from him with a langh, threw back his head with a gesture that always set his hair waving and gayly said, * Not a bad morning's work, my friend ; that would supply a family for a year. Have I earned the right to a good breakfsst  ?

> n

Even at the low prices at which many of his designs sold, it is estimated that he earned in his life-time 12,000,000. So rapidly and effectively did he sweep over chosen art fields, including not only all actual countries, but the domain of the imagination, the celestial and lower regions, and the realm of pure phantasm, that it is impos- sible to follow him. He made use of all the modes of expression tJiat art has pressed into the service of the idea ; drawing, engraving, etch- ing, aquarelle, painting, and sculpture.

At the age of eighteen, having already experienced a lifetime of art-thought, achieved several lifetimes of art-work, been made exult- ant with innumerable art-successes, and confident in faculties that he felt could do more than even his friends would belieye, he appeared

> The sentiment of Paris, expressed with great enthusiasm, was thst this was the most beautiful of aU Dora's works, the most wonderful of his achievements ; but no offlclil award followed. Ballos represented to the Minister of Instruction Dor^s dalma for honor. ** Ah, there are so many candidates, snd Dor^ is so young," replied he, for- getting that thst formed an Important part of Dora's claim. BaUos transported a car- riage load of lUuBtrations to the Kinister ; he wss astonished, looked tbem over, and coming to The Inferno, foUowed the designs to the end In absortied slienoe, then said : This alone says more for him than could a multitude of friends. For Gustavo Dor6 not to belong to the Legion of Honor would be an insult to him and an injustice to the country that gave him birth."— Life of Dord, by Blanche Roosevelt

TES NINETEENTH CENTURY. 421

in the Salon of 1851 in the oil painting Wild Pines, bnt his real d6bnt as a painter was made by his more impressive exhibition in the Salon of 1858 of the two pictures, UEnfant Rose and L'Enfant GhStive and The Family of Saltimbanqnes. These were characteristically full of significance; the mother of the wretched, starring child wistfully eyeing the plnmp and rosy infant, and the poverty of the street per- formers in the tinselled finery of the pinched yet keen-witted chil- dren of the Saltimbanqnes, were pathetic. The pictures were little noticed, drew no purchasers. Dor6 was not to be permitted in France to ride on the wave-top of the new sea on which he was launched. Honors were being heaped upon Yemet, whose rapid powers he pos- sessed, only with incomparably greater depth of feeling. But though he now entered upon the field of painting during that period of lib- eral treatment ensuing from the artists' protests of 1847 and 1848 ; though he counted the distinguished critics, Edmond About, Th6o- phile Oautier, and Paul Balloz, editor of the Moniteur UniverselU, among his warmest friends, and they highly appreciated his art; though at this moment every author, every publisher, every reviser, was demanding Dora's designs, and '^ Dor6, the illustrator," was the wonder of all Paris, the verdict of the public or rather of the schools was No technique," No school." But his friends, among them Oautier, knew what the public did not ; they had seen in his studio evidences of the power that led Dor6 to persist in believing himself a painter, and to repudiate the application to himself of the term " draughtsman." He had shortly before this shown Lacroix in his studio twelve large canvases representing Paris As It Is, in which with a repugnant realism and detail, but with good fcechnique and ezceUent drawing and grouping, he had reproduced the vile slums of Paris. Oautier had said of them, " They are too great, too real to be left in oblivion, but too loathsome to be exhibited." Dor6 exclaimed as he showed them, " What do you think of Meissonier now  ?" ' Refus- ing by his mother's ambitious advice 110,000 francs for them from an American who was to exhibit them in America as life in Paris, and having no higher ofFer, they disappeared. He probably destroyed them. Another anecdote is still more remarkable. Lacroix once, when Dor6 was about seventeen, was praising A Pine Forest in the Yosges which he had just painted from memory and saying, "You remind me of Virgil," quoted a Latin description (.^hieid, X. 435). A few days after he exhibited to his friends a landscape two yards long,

a He could fll brook the renown of Meiaaonlery thongh Meisaonler, whom he seemed to coniider he liTalled In style, was bo much older thtn he.

423 A HISTORY OF FRENCH PAINTING.

and half as high. Where did yoa study, for this is nature  ? " ex- claimed Lacroiz. '^ Study? that is your hobby. I studied only joor words, my friend. I saw their true meaning in my imagination. This illustrates your lines from Virgil." Seeing surprise and delight on the face of his friend he began^ as was his habit in happiness, to jump oyer the tables and chairs.

He prepared for the TJniyersal Exposition of 1855 four pictares : The Battle of the Alma ; Erening ; La Prairie; and Bizzio. Rizzio being rejected, he made his fourth appearance in oil painting there at twenty-two years of age by the first three. The critics again gave favorable notices, and the public was astonished at this new achieve- ment of the youth/ but no official purchases were made, no medab awarded to Dor& England offered in its high estimate of his paints ing what should, if anything could, have proved a sufficient balm for the failure of France to give to her loving son rank as a painter.* His affection for France was depicted in his Alsace after the Franco- Gterman War, now owned by the Baroness Burdett-Ooutts. It is a woman broken-hearted at separation from France. In 1868 an exhi- bition was made in London of Dor6's paintings, and out of that grev the permanent Dor6 Oallery at No. 35 New Bond Street, where most of his paintings* were collected, many of them having been exhibited in the Paris Salons/

Dore had exhibited at the Salons, besides drawings and casts, the following oil paintings :

Wild Pines (1861): After the Tempest, Alps (1853): Two Mothers; Family o( Saitimbanques (1858): Battle of the Alma; Evening; Prairie (1855): Torrent, Alps; Tempest, Vosges; Solitude; Top of Mountain, Alps; View in Aisaoe; Pasture; Sonset in Alps; Portrait (1857): Dante and Viigil in Inferno; Momiog in the Yosges (1861) : Episode of the Deluge  ; Danoe of Gipsies at GienadA ; Francesca da Bimini and Paolo Malatesta (1868): Spanish Oipsy; Tobit and the Angel (Luxembourg) (1865): Eyening in the Gountrj of Grenada; Souvenir of Savoy, landscape, (1866): The Green Carpet ; Jephtha's Daughter (1867): Neophyte (re-ez. 1878); Siesta, Souvenir of Spain (1868): Alps; Valley (1869): Alms, land- scape of Savoy, (1870): L'Alsaoe; Biassaore of the Innocents (1872): LesT^n- ^bres (of the Gruciflzion) ; The Desert ; Souvenir of the Alps (1878) : ChristiaD

1 " At seventeen Dor^ looked like a lad of twelve, at twenty Uke seventeen, having % thin boyish figure and a pale face."— Paul Lacroiz.

• Rizzio is now In the Dor^ Gallery, London.

• A French amateur of the fine arts in London was invited by an English friend to

go to New Bond Street and see the works of " the greatest living French painter, Gustave Dor^." *' Our greatest painter I Never,*' replied he. " Dor^ Is our greatest lUustrator ; we never knew he was a painter at aU, until the English told na so.*'

«  There were paid to Dor^ for the pictures of this gallery over $800,000.

THE NINETEENTH CENTURY. 428

Martyrs (re-ex. 1878); Path, SouTonir of the Alpe  ; Bains of Castle of Dreysteiiiy Alsace (1874): Dante and VirgU visiting the seventh Circle; House of Caiaphas; Vagabonds (1875): Christ's Entry into Jemsaiem (1876): Christ's Condemned; Daybreak in the Alps (1877) : Ecoe Homo  ; Moses before Pharaoh (1878) : Sou- yenir of Scotland; Morning in the Alps (E. U. 1878):

Of the piotnres oollected in the Dor6 Gallery twenty-eight have been sold to private collectors in England, Scotland, America, and Anstralia. Those still in the gallery are here mentioned in the order of the time of painting:

1. La Prairie (1865): %. Bizzio, 8 ft. 6 in. by 10 ft. 6 in. (1855): 8. Le Tapis Vert, gambling table at Baden Baden, 17 ft. (1867): 4. Triumph of Christianity over Paganism, 9 ft. 10 in. by 6 ft. 10 in. (1868): 6. Andromeda Chained to the Rook, 8 ft. 6 in. by 5 ft. 6 in. (1868): 6. The Neophyte, one row of monks, 6 ft by

8 ft. 6 in. (1868): 7. The Neophyte, two rows of monks, 8 ft. by 10 ft. 6 in. (1869): 8. The Christian Martyrs, 4 ft. 10 in. by 7 ft. 6 in. (1870): 9. Christ leaving the Pnetorium, 20 ft. by 80 ft.(1872): 10. The Night of the Cradfixion, 4 ft. 8 in. by 6 ft. 4 in. (1878) : 11. The Dream of Pilate's Wife (Chradia Piocula), 6 ft. 4 in. by

9 ft. 7 in. (1874): 12. The Crusaders, 8 ft. 9 in. by 6 ft 3 in. (1874): 18. The House of Ouaphas (Judas plotting against Jesus), 8 ft. 9 in. by 5 ft. 9 in. (1876) : 14. The Battle of Ascalon, 4 ft. 2 in. by 6 ft. 4 in. (1875): 16. Christ Entering Jeru- salem, 20 ft by 80 ft. (1876): 16. Moses and the Brazen Serpent, 18 ft by 29 ft 6 in. (1877) : 17. Ecoe Homo, 20 ft. by 18 ft. 6 in. (1879) : 18. The Ascension, 20 ft by 18 ft. 6 in. (1879): 19. Moses before Pharaoh, 17 ft. 6 in. by 20 ft. 6 in. (1880): 20. The Day Dream (young monk at organ), 8 ft by 9 ft 6 in. (1880): 21. The Day Dream, 11 ft. by 6 ft. 8 in. (1882) : 22. Replica of Christ leaving the Pnetorium, 17 ft by 28 ft (lacking a few touches at Dora's death) (1888): 28. Beplica of Ecce Homo, 6 ft. 9 in. by 11 ft. (1888): 24. Beplioa of Ascension, 6 ft. 9 in. by 11 ft. (1888): 25. The Vale of Tears, 14 ft. by 21 ft. (1888): 26. A Snow Soene in the Alps; 27. Mont Blanc; 28. A Torrent in the Trossachs; 29. The Falls of the Garry, Perthshire.

He was working on The Yale of Tears a few days before his death. The magnitnde of these works made them suitable only for large gal- leries and, no doubt, each was begun with a new hope of its being transferred to some public gallery of his beloved France. Of the twenty-eight sold from the gallery, one, The Psalterion, a young man playing on a lute and singing and dreaming of his future, was bought by Queen Victoria in 1870, and is at Windsor Oastle. Mr. Duncan, Laird of Benmore, who has a fine collection of Dor6's paintings and sketches, bought others. His landscapes give him high rank in the true interpretation of nature. His intensity of character grasps in them the significance of creation, and he renders them under a con- sciousness of the sublime ; they are often wholly ideal, often of a gloomy grandeur, almost always unassociated with human life. The

424 ^ HISTORY OF FRENCH PAINTING.

Triamph of Ohriatianity is called his masterpiece, though criticised for the material force made use of to win the triamph. The Neo- phyte, Christ leaving the Pnetorinm, and the Dream of Pilate's Wife are even more interesting. The Neophyte made a deep impression aft once, as more thoughtful and religions than was nsoal to DorS's irre* sponsible spontaneity.

It 18 a young novice represented among the older monks, at the moment when, as he sees in his companions, instead of the pnrity and piety he had pictmed, obesity, dalnees, selfishness, he has a realization of the fall meaning of his tow. of what his life is henceforth to be. It 1b a terrible disillnsioning. The Day Dioam is a companion to this, and represents the ecstasy of a yoong monk who sits dream- ing at the organ. What the dream is, is suggested by the angel floating above bun.

The Christ leaving the Prntoriam represents the moment after condemnation and before taking up the cross. Everything in this complex picture is sob* ordinated to " the one grand, sublime expression of sonowing pity, tiiat beams out of the divine eyes '* of the Saviour of the world under condemnation. This was exhibited with great success in Paris in April, 1872, before being sent to London. There it became the excitement of all classes, especially the cultivated, and all praised it with wonderful unanimity.

The Dream of Claudia Procula is that dream in which she had "been troubled because of this man." She is descending the steps from her chamber in a blase of light which issues from an open door, and a floating angel whispers into her ear. What he related to her is seen in figures radiant in light, by which are represented incidents of the future history of the Christian church ; the martyrs, the crusaders, the Empress Helena, Charlemagne, distinguished Christians of all times, all in a glory of light and color, and over all a cross of silver stars.

Dor6 is always impressive/ always earnest^ always'iias a story fall of thoaght, but it is tme that his drawing is often defective, his color- ing nnnatnral. Nevertheless, though it was not of the kind that bestowed honorable mention, medals, official patronage, there was an appreciation of Dor6 in France. ' His Tobit and the Angel was pur- chased for the Luxemboorg, and his Battle of Inkerman, of 1857, five metres square, was placed in the Miis£e de Versailles, whence, how- ever, though Oautier praised it, it was removed before Dor6 died.

But he was not without the most flattering social favors in Paris. He was often the guest of the Emperor and Empress at Compidgne, and was invited by the Emperor twice to join them in an excursion to Suez, which, thoagh an invitation from their majesties was usually regarded as a command, Dor6 declined. He assigned as a reason that he feared the effect of the fascinations of the Orient upon his

1 This is proven by the high rank conceded to him by the Society of AquareDlsU, which, It wUl be recalled, was most fastidious in its requirements, and, as opposed to the impressionists, held that the Juries admitted too freely to the Salons.

TEE NINETEENTH CENTURY. 425

art. For I am an impressionable dog/' said he, and, as we have seen, he often f onnd his impressions stronger than himself. . In England he was fdted and petted, sought by the nobility, honored by a call from the Prince of Wales, dined with His Boyal Highness on state occasions, was invited to breakfast with him at Ohiswick, and, at a garden party there, was presented to the Queen.

He was just completing the plates for his illustration of Shakes- peare when attacked by his last illness, a fit of apoplexy; he had had but fifty years of life for executing his seyenty-five thousand designs, which would be an average of six drawings a day from his fifteenth year. At the time of his death he was also overseeing the casting of his bronze statue of Alexandre Dumas, without an account of his connection with which no sketch of Dor6 as a man would be complete. M. Yillard, the Municipal Oouncillor, had found Paul Dubois too busy to undertake the contemplated statue, and was uncer- tain as to the second choice, when he accosted Dor6, saying, ** You, who have the imagination of the Prince of Darkness himself, ought to be able to work out for us a design for this statue. ' '^ It is very easily done," replied Dor6, and the next day he exhibited his sketch, which was as follows :

A seated statue, smiling rather than thoughtful, and for the base in front a group of readers, men and women, eagerly perusing one of Dumas' books, while a little aside an unlettered workman listens absorbed by the story ; the otbcr side shows a mousquetaire seated sword in hand watching, as it were, over the glory of the author of ** Les Troia Mousquetaires," perhaps the most famous of Dumas' countless romances.

"Bravo! Bravo I" cried the judges. "Since you approve it,'* replied Dor6, "there remains nothing more but to execute it myself and at my own expense." In less than a year it was all complete for the casting. As Dor6's conception, last work, and glad gift, it becomes at once a monument to himself as well as to Dumas. His comprehensive and suggestive conception is so beautifully and fully illustrated by his sculpture. The Poem of the Vine, of the Salon of 1878, that it belongs even to a view of him as a painter.

It is a colossal bronse vase of iridescent hues, upon the exterior of which his imagination, matured and informed by the abnormal flights of his winged thoughts, revelB in the oarmval of life in aU the varied forms in which the fruit of the Vine influences it, in its cheer, its love, its intoxication. The Vine itself is there in its graceful curves and clustering fruit, so actual as to suggest its aroma. Serpents glide amid flowers, forming a part of the allegory.

s Jules Claretle, ai quoted In L'Art.

426 A HISTORY OF FRENCH PAINTING.

GenerouB towards friends^ Dor6 was especially tender towards his mother. Her absorbing Ioto for him had kept him from marrying, and her death left him to a loneliness that in his love of home and simple domestic joys he greatly deplored. He had nntil her death, within two years of his own, though possessed of ample means and liying in a honse of Inznrions size, slept in a little room within hers, the door between left open for their nightly converse. Of his Christian belief, he said in 1868 to the Bey. Frederick Harford, minor Oanon of Westminster, his faithful friend from 1867 till his death : ^' I am a Catholic, but my real religion is contained in the thirteenth chapter of St. Paul's First Epistle to the Corinthians, and he repeated word for word the beautiful description of the charity that suftereth long. His idea of earthly glory he expressed in his statue. La Gloire, of the Salon of 1878, under the form of a woman who strains the youthful, supple form of Genius to her bosom, while in her hand under a laurel wreath she holds the poignard with which to deal him a fatal blow.

THE LATER HI8T0BI0AL PAI17TEB8.

By artists, like Ingres, unable to stifle their classic intuitions the historic style has been in a degree maintained in this period during the preyalence of genre, and in 1874 official authority made special effort to promote the choice of subjects of history, an influence since continued, as a form of art important to national needs and to which the increasing decoration of public edifices has offered great induce- ment. French artists have not been irresponsive to these influences, and the eminence of figure painting afforded an easy transition to it There are, howeyer, few who paint history to the entire exclusion of genre, and few or none who confine themselves to historical subjects, or practise it in entire accordance with the theories of the ideal styla Kor was the adoption of the historical style of the early century intended in officially advocating the renewal of historical subject Indeed, the academic, at one time almost synonymous with the historical, is no longer allowed to furnish formulas for the painting of history. A certain truth of semblance, based on study of the period of the subject and an observance of contemporary realities, is more and more demanded. This too must be rendered a living sem- blance by power to grasp effects, by invention and vigor, and, at this moment, the prevailing observation of external nature leads to intro- ducing landscape effects, even into decorative painting. A number of artists have been chiefly occupied in decoration, but as most of the

THE NINETEENTH CENTURY. 427

prominent painters of hustoiy have ezecnted mural paintings, and classification cannot truly be based on the place of the work instead of its qualities^ both classes, though the latter practise the general- izing and simplifying of truth required for decoratiye work, fall together.

Of the latter class, Lenepveu, a pupil of Picot and of the ]^cole des Beaux-Arts, had receiyed recognition at the opening of this period, haying won, after a brilliant d6but in 1843 with an Idyl, the

Prix de Borne in 1847 on the subject. The (i8iV- "f AliVrl"*****" Death of Vitellius. His picture so far

Prix d* Rom«  '47. excoUed thosc of the other competitors

alTci.^s. 'el! ^^^ ^^ ^^ enthusiastically crowned, and

L.Hon. '62 ; Of. L.Hon. '76. the samc year his Saint Saturnin won a

• • •"" '"•* '^' medal. He has in this period also been

made Member of the Institute as the successor of Hesse and a direc- tor of the School at Bome (1872-1878). He is represented in the Luxembourg by Martyrs in the Catacombs, executed in 1855, imme- diately after his fiye years' pensionate, which, with Pius IX. at the Sistine Ohapel and a F£te at Venice of the same year, showed the memories of his Italian masters obstructing his originalities of style. But by 1857 in his Venetian Wedding his own powers asserted them- selyes in a poetic feeling, a warmth and yiyacity quite unusual, and since 1861 he has stood in the highest ranks of painting. He is seen in The Hours of the Day and Night — decorations of the Paris Nouyel Op6ra, in those of the Ghurch of St. Sulpice and other public build- ings of Paris, and in works in many of the museums of France.

To a fine coloring Baudry unites great elegance and a yein of realism. He became an eminent painter of history and portraits, but his great work is the decoration of the foyer of the Op^ra at Paul jaquot Aimtf Baudry PaHs (1866-1874), whlch has placcd him in

ilu/".f?c! ^* .g*,**!;';"^^"- the first rank as a decoratiye painter. He L. Hon. '61; Of. l! Hon. '69. was the third of twelye children, a country conf». l. Hon. '75 ; Monr). inat. '70. \g^^ roamiug iu loug walks with his father — a

maker of sabots, and so true a loyer of rustic life, as to rise before the sun to catch the tone of the morning, and for diyersion playing the yiolin under the eyening skies. His son, Ambroise, describes him as

• • a stoic without knowing it, a character antique and of a moral

beauty of which he was unconscious." At thirteen Paul took up the pencil. Haying acquired training of eye and power of hand under the yillage artist, Sartoris, that master persuaded the maire and prefect of Baudry's natiye proyinoe, Bourbon- Vendue, to allow him a

428 A HISTORY OF FRENCH PAJNTINQ.

pension for study in Paris. It was four hundred francs a year. There he first applied for instruotion to the classioist, Drdlling, who, reluctant to receive him, said ^^ Oome next week 1 '^ No, I will come to-mor- row,'^ replied the frank and persistent youth. His letter to Sartoris also recounts that upon Drdlling's inquiring if he had the resonroes necessaiy to the study of art, he answered that he should become a painter, even if he ^ed of starvation. A determined will enabled him to practise the economy necessary to pay Dr5Uiiig a fee of twenty- five francs per month. By occasionally not incurring for some one month the expense of instruction, and seUing a sketch or copy, and living in a low mansard room, the one hundred francs a year remain- ing of his pension served to sustain him. At an increase of this the next year, taking renewed hope, he wrote, what seemed to him then a daringly ambitious prediction  : *^ Perhaps they will some day say Paul Baudry as they now do Paul Delaroche." lu 1847 he entered into competition for the Prix de Bome, disputed it with Lenepveu, and bore away only the second prize. This would have been an empiy honor, except as putting him en route for the first and carrying exemp- tion from conscription, had not the Department of Yendfie, proud of the attainment he showed, increased his pension to 1,200 francs a year. He worked three years longer, and in 1850 won the first Prix de Borne by Zenobia Discovered on the Banks of the Araxes, and journeyed witJi Bouguereau to the Villa Medici. There by continuing the earnest work that early won for him the appellation of dig" he acquired the truly Titianesque, luminous coloring which is a charming feature of his decorations. His envois " attracted much attention, and of his first exhibition in 1857, St. John, and Fortuna and the Ghild, a remin- der of Titian's Sacred and Profane Love, found place in the Luxem- bourg, and others of the same year. Burying a Vestal Alive (Lille Museum) and Leda, commanded appreciation. He received in conse- quence a first-class medal. For a few years then he yielded to self- indulgence, his industry flagged, and his art lost vigor. But having won from Oamier, the architect of the Nouvel OpSra., the privilege of decorating its foyer, he roused himself, returned to Italy and studied again the Sistine Chapel to strengthen his power of composition, which he felt was not equal to his color and drawing. He also went to London and copied BaphaeVs cartoons ; he '^dug^' with his early obstinate persistence to attain by all means this excellence, giving to study eight years in all of what might have been successful work for him. He succeeded. His work in the Op6ra (1866-1874) is one of the grandest works of this generation. Its exhibition at the  !fi!cole des

THE NINETEENTH CENTURY. 429

Beaux- Arts in 1874 was popalarly pronoanced a festiyal of French art" The piotures were to coyer an area of four hundred square yards, consisting of three ceilings, twelve coTings, ten architraves, and eight panels. Throughout these thirty-three canvases he secured harmony by the theme which runs through them, Poetry and Music.

Ten snbjeots iUastrate the power of music, sach as: Orphens and Shirydioe  ; Saul Soothed hj the EUurp of David  ; The Inspiration of St. Cecilia by the Music of the Angels ; Bude Warriois incited to Assault by the Clang of Trumpets. Ten large medallions for spaces over the principal doorways represent the musical genius of various nations in groups of aerial spirits. For Greece these make music on the lyre and double flute ; for Rome on the mariaal trump; for Egypt on the harp and systrum; for Italy on the tambourine and yiolin r for Spain on the guitar and castanets ; for Ireland on the harp of Erin  ; and for Scotland on the bagpipe.

It was urgently proposed in the journal. La Patrie, that these originals should be reserved in some monumental structure and copies be made for the Op6ra where there might be destroying influences. ' The whole was eloquent in poetic feeling, radiant in luminonsness of color, and clear in unquestionable truth of drawing, and, with all Baudry's study, it ^as impressed by his own character, his pe-^sonal charm pervaded his work. While seeking and attaining grandeur of style and thought, he made use of the familiar physiognomy of the life by which he was surrounded, just as Masaccio had done four hundred years before him — a practice with which he has been reproached, and, as was said of the Italians of the flfteenth century, a critic said of the flgures of Baudry's Jurisprudence  : '^ Behold in this Justice, my familiar friend, whom I might invite to dinner." The face of his brother, whom he attracted from the life of a carpen- ter to that of an architect, appears beside Oamier's and his own in the Parnassus of the ceiling of the Opira.

While executing this colossal undertaking he painted besides only portraits, of which nevertheless he produced masterpieces. Eighty-four were exhibited after his death, of a style varying in accordance with his developing powers, from the precision of his early studies in Bome to the freer touch contemporary with his decorative work. He painted The Wedding Feast of Fysche and Oupid for a ceiling for the late W. ELVanderbilt, in which he modified the fable of Apuleius, and represented love in marriage under four different views in an ironicid vein touched with his sceptical Parisianism. In a ceiling for Mr. Oomelius Vanderbilt he represented the Queen of Night in

> They have been much injured by the smoke from Unniing gu, but are now repftlrei and electrie light tntrodooed.

430 -A BISTORT OF FRENCH PAINTING.

the Constellation of Orion, a composition worked out; in only two or three colors. The figure, in a short blue tunic, is boldly modelled* veiled in light, violet drapery, with bare arms and head crowned by silver rays. It is said that the artist had the exact position of the stars marked by the astronomer Janssen, and the terrestrial globe, which supports the knee of the goddess, is shown on the American side. His Apotheosis of Law, painted for the Hall of the Court of Appeals, won enthusiastic reception to the Salon of 1881, and was awarded the Orand Medal of Honor without a dissenting voice, the first time the unanimous award of this medal occurred. Among the most elevated of Baudry's nude figures is his singularly beautiful Truth.

Sitting upon the curb of a well, whence Tmth is said to emerge, she is gazing into a hand-mirror, while a child offers her clothing in which to conceal her splendor, a splendor almost nnsorpassed. The harmony of lines, the modelling of the form, the delicacy of outlines, combined with Baudry's special gift of coloi; make it a figure that once seen lives in the memory.

His decorative works gave little time for easel pictures, and a few over twenty comprise all he has painted. Among them are  :

1850, Goillemette: 1861, Charlotte Gorday (Nantes): 1868. Pearl and Wave: 1865, Diana. Among his portraits are : 1861, GKdzot : 1869, Charies Gamier: 187S, Edmond About: 1877, le G^n^ral de Montauban.

About was the schoolmate of the artist's boyhood and friend of his mature life ; in 1857 the author dedicated a book to the artist; in 1872 the artist reproduced the face of his friend of auld lang syne, who fondly called him '^ Mio Paoluccio/' a name by which he was also familiarly known at the Villa Medici. The death of his own rector at Rome, Schnetz, left vacant the chair in the Institute to which Baudry succeeded in 1870. Full of great projects and strong in hope he died in 1886.

An artist of noble birth, thorough cultivation, and competent fortune, known almost entirely by his mural decorations, and who paints in an ideal style, which is, however, far from the previously

accepted theories of historical painting, is (1824- ), Lyons. Puvis dc OhavauDes. It is also so unlike all

M«d. ad ci. '61 ; M*d. '64 \ 3d ci. '©7. else coutemporary that it seems an interpola-

M«d ^Hon^^'ia. "" **" ^ ^^^ ^^ ^^® ^^ ®' *^^ *g®- '^ ^^y hoWCVCr,

made for itself a high place in the scale of merit. He has, to express it by the French phrase, and never was that phrase more appropriate, the I know not whaf of power. His

THU NINETEENTH CENTURY. 431

early works, after study under Henri Schefier and Ooutnre, suppoe- ably under the latter^s influence, revealed a taste for color. But hia own indiyiduality soon threw off all semblance to others and deyeloped an art of abstractions, devoid of color, as usually understood, but pre- senting the germ of impressive effect which he has since developed into a commanding charm, — eloquence '^ says Lafenestre— despite a simplification of forms carried to extreme, attitudes often stiff, and a frequent incorrectness and awkwardness, which, however, have a nuvet6 of pleasing effect His first exhibition. The Betum from the Ohase in 1859, won little notice, but in 1861 his two large canvases, Peace and War, became the subject of most diverse criti- cism. From these works of a marked grandeur of style his natural bias, for such it has since proved itself to be, has matured a practice of effecting his aims by a minimum service of color and action, and even of light and design, until, to use the words of Oautier, *^ He seems just to have stepped out of the studio of Primaticcio or of II Bosso," and to bring thence all the simplicity of the spontane- ous creations of primitive art. His works thus assume a decorative character, and he has been employed chiefly for the public build- ings of Paris, Poitiers, and Marseilles. He does not paint histori- cal realities, but symbolisms, as Work and Best of 1863, comple- ments of his picture of 1861 ; or he makes poetical abstractions from the antique or from the land of thought peopled only by the idea and which only the mind's eye'^ perceives. He thus paints almost exclusively from the imagination and his art becomes purely ideal, except in the single but important quality that it is nourished by the sue " of reality. Thus, though it is of an unfamiliar world, it has a something allied to modem methods: he has been among the first to introduce landscape into decorations, and, though his phrases are un- finished, and, as Mantz says, he desires to be understood i demu mot,^* it is also true that, bom of his own spirit, his art is sponta- neous, fresh, and original. His peculiar dull, dead color, or coloration, as Hamerton suggests it should be called, as implying artistic purposes not less serious than color, but more compatible with a closer attention to, and a dependence upon, form, has a charm of its own ; his figures, of great severity, become a mere apotheosis of form, and make his style one of very lofty distinction. He justifies, by thus elucidating its possibilities in this age of its rejection, one of the tenets of the dassic of the late eighteenth and early nine- teenth centuries  : he produces an art to which, as was then claimed, no objective reality is necessary, for which subjective creation suffices.

482 -A HISTORY OF FRENCH PAINTING.

Bat he did not break through all restraint upon his individuality until his work of 1873, Snmmer, and his powers are fnlly illustrated by his pictore of 1875, The Year 732, Charles Martel's Tiotory over the Saraoens near Poitiers, by which that monarch sayed Ohristendom. This was an appropriate subject for the Hdtel de Ville, of Poitiers, for which also in 1874 he painted the subject, The Sixth Century, in which Badegonde retires to the convent of Sainte Croix, where she gives asylum to poets and protects letters from the barbarities of the age. In 1876 he exiiibited at the Salon sketches for some of the scenes of the Education and Pastoral History of St Oenevidve for the decorations of the Pantheon, which were asmgned to him by the Director Ghenne- vidres's p]an of 1874. Public favor until then had not been accorded to him because of his so-called ** cold intellectuality," in which he was resolute, and also because of the unsatisfactory impression made by his decorative works beside those of a franker imitation of nature ; and an unsympathetic minority still condemns them as caricature. But their sincerity and simplicity and poetic charm, which are the chief element of his power, are so conspicuous in his works in the Panth6on — ^though their treatment is so quaint that they have in their high horizons, their flowers and foliage resembling old illuminations, the semblance of ancient tapestries hung on the walls — that they won the heart of the nation, in the main, and it now gives his art an admiration which, however qualified, is very great and very sincere.

His work in the Salon of 1886 comprised three decorative panels artificially united by the needs of the exhibition. They were designed to be connected with the panel of the Salon of 1884, The Sacred Wood dear to the Arts and Muses for the Museum of Lyons. The centre one was the Bhone and Sadne ; one wing. Antique Vision, the intention of which was to express the idea of form  ; and the other. The Inspiration of Christianity, to give the idea of feeling.

In the Vision, noble fonns in the attitudes of Oreek stataes, inhabit an imag^ inary lAndsoape of grand lines representing a classic land as we know it in the poets. In The Inspiration are represented the religious painters of the middle ages in Italy ; Fia Angelioo and his pupils painting the f reeooee, to wliioh answers to their earnest prayers have inspired them«  The Rhone and Sa6ne, in two nude figures of substantial reality, in the foreground of an ideal landscape, symbolin the confluence of those rivers, which, the painter announced in the catalogue^ also represent the union of Strength and Grace.

In 1887 he exhibited allegorical designs for the deooration of the Sorbonne, and in them has indicated that he peroeives the proper limitations of simplification.

THE NINETEENTH CENTURY. 433

Luminaifiy a pupil of Oogniet, spent his earliest efforts on the classic style, but since has taken subjects from the customs and history

. . of Brittany, and lately has ^^ become lost in the

gvarlttt vital Lumlnalt ..•' -ir^i. • .j^-n_ i_

(i82ft- ). Nantec. Morovingian and OarloYingian penod of French

M«d. 3d ci. 'sa. '55. '57, '««. history/' He renders the stalwart, yellow-haired

heroes of that time of physical strength, with a broad, impressiye treatment of great yigor of drawing, a solid pite, truth of color, and depth of obserration, often humorous, the results of which are conveyed in skilful compositions and with great energy of expression. The character of his history is best indicated by a list of his works, of which some are  :

Defeat of the Qermans at Tolbiac Nantes (1848): Siege of Paris by the Nor- mans The Pirate (1849): Ctj of the Chouons (1859): (Hllic ReTenge (1869): Ganis in S ght of Borne (Nancy, 1879): Scouts (Bordeaux, 1870): The Last Mero- vingian (1888): Death of GhilpiSrio (1885): Bnmhilde (1874).

A picture of great power and interest, his Fleeing Prisoner, of 1877, represents a strong Oaul dropping himself by the slight branch of a tree over a precipice, while the pursuing horsemen are seen close at hand.

Some of his scenes are pure genre and of great hamor, as  :

Lesson in CJhuioh Music (1855) : The Shepherd of Brittany (1852) : Return from the Fair (1850): Inn Scenes (1859): Vedette Ganloise (1869).

A pupil of Picot, but who early earnestly sought to follow Dela- croix and Ohasseriau, Oustave Moreau, has become a painter of

antique scenes. For these subjects he developed 08*5*^*)?p*rit. "^ aptitude while studying at Bome. He maintaing M«d. '64. '65. '09- this with a treatment in which, while it demands L* Hon^Ts' ^ ^^^ harmony and calm of tranquil lines, and a certaia

simplicity which makes his works sculpturesque, he takes subjects of struggle, and also giyes the modern realistic ful- ness of detail — an idiosyncrasy which is called an inconsistency by Oharles Blanc, from whom it evoked the wonder —

«... that the same artist both pursues the grand and yet inundates him- self with the little, amuses himself with the puerilities of detail and yet raises him- self to the regions where the eye can see only the ensemble. Gould we by any possibility know the incrustations of the lyre with which the prehistoric Orpheus charmed ferocious beasts, or the detailed figures on the robes of Medea and Jason? "

But with his emphatic poetic taste, can the right be denied to Moreau to imagine appropriate details  ? sinoe^ under a rare power of

88

434 A HISTORY OF FRENCH PAINTING.

hannonizing them into uoity of sentiment, and subordinating them to a snave outline, his accessories, however rich and abnndant, can hardly ** inundate but must eyen aid the clearness of the picture. Nor are his calm and his violence antagonistic. The calm is that of the quiet consciousness of power of the victor, which naturally predomi- nates in the scene, and has its source either in a superlative heroism of spirit if a mortal, or in a higher nature if a god. His Prometheus illustrates the former ; it is not a Prometheus yielding to the agony of the vultures' wounds, nor a Prometheus violently defiant of Jove, but a Prometheus quiet and motionless, heroically surmounting suf- fering through hope, his eye fixed on the horizon of a sky, sombre, but from which must break the coming day. At times he has treated excessive violence, as the horror of Diomedes Devoured by his Horses, in 1866. In rendering all that goes to make up the picture tributary to its sentiment, in his Phaeton Precipitated from his Chariot, for instance, and necessarily dragging the entire zodiac with him, he is necessarily turbulent and tumultuous ; and though fond of color both in its brilliancy and delicacy, he makes use of it as a well-disciplined auxiliary to significance of expression. Having an independent for- tune and disdaining popular applause, he indulges his artisfcic aim, and from the study and labor devoted to his pictures, stands among the first of the class who elaborate and refine their conceptions.

He burst upon the public in the Salon of 1864 with an (Edipns and the Sphinx, challenging the prevailing practice of treating that subject, which had been only in the classic style, for all the energetic romanticism of Delacroix had not made apparent the romantic aspect of classic subjects, though 06rAme and his neo-grecs had made roman- tic subjects classic. Moreau painted, issuing from a bluish land- scape of fantastic rock, the enigmatical head which CEdipus seeks to answer. To the memory of Ghasseriau, the lustre of whose short- lived art was soon lost in that of Delacroix and Ingres, Moreau inscribed in 1865 a very characteristic picture. The Young Man and Death. It represents youth with the beauty of the mortal body undimmed, and, having just cleared the threshold of Death's domain, proudly bearing a crown on his head and flowers in his hand, whQe one of the genii of Death carries at his feet a torch with the flame fading out. He was accorded a place in the Luxembourg in 1867 for his Orpheus. In this a young girl, clothed in a blue robe covered with archaic embroidery, carefully carries, laid upon his lyre, the head of the divine Orpheus, which she has picked up among the washings of the tempest on the shores of Thraoe. All unite, the

THE NINETEENTH CENTURY. 436

landscape and the accessories, to express melancholy. Other works are  :

The Minotaur (1855): Jason (1865): Prometheus  ; Jupiter and Europa(1869): Hercules and the LenuBan Hydra ; Salome (1876): Jacob and the Angel ; David; Qalatea; Helen (1880).

Leroux devotes himself to antique subjects, and in them shows delicate skill and accurate archseological knowledge in a charming H«ctor L«roux ^^^ stjlo. His representative picture in the Luxem-

(i8a9- ), v*rdun. bourg is A Fuucral in the Palace of the Gaasars (1864) M... 3- ci. .3. •«♦. i^ ^hi,h , p„^i,^ d^^ds a precipitous stairway

3d ci. '78 E. u. filled with sunlight ; two musicians attend at the L. Hon. -77. j^gjjj^ g^ ^^ ^^^ ^^iQ title " The Painter of Vestals/'

and has, indeed, become a devotee of Vesta through his sympathy with the virgins of that goddess, resulting from a thorough study of their history. This was induced by his gratitude for the success of his first Salon picture, A New Vestal (Verdun Museum, 1863). Of later productions of the subject four are owned in America.

As a result of his studies, he wrote to the owner of his Trial of Aurelia and Pomponia, Mr. J. T. Martin of Brooklyn  : ^* Every arti- cle of this barbarous law [ruling these virgins] was death, the method only being varied. Sometimes they were buried alive, again whipped to death. Seventeen girls whose names I have collected perished thus, and two unfortunate heroines, Aurelia and Pomponia, sisters, were condemned to death together in the reign of Caracalla, and buried alive for the violation of their vows. An important one is The Vestal Tuccia (Salon 1874, E. U. 1878), in the Corcoran Gallery, Washington.

It enlists all onr gympathy with innooence unjustly accused, in the silent protest made, as, on the banks of the Tiber, in a scene of a quiet so extreme as to seem indifference, the accused Vestal earnestly holds up a sieve to the heavens and prays to Vesta that she may prove her innooence. Two companion vestals peer from a comer of a classic structure with an eager interest; other spectators earnestly r^;ard her from various points, some even from the opposite bank. The whole scene is rendered with an exquisite and ideal beauty. Others are the School of Vestals (Mr. John Jacob Astor): and DanaXds (Mr. William W. Astor).

Laurens after being in 1880 the laureate of the Fine Arts Academy of Toulouse, where he was a fellow pupil with Got, and after receiving jMn Paul Laurent instructiou iu Paris of Cogniet, and subsequently

(1838- ). Fourqu^yaux. of Bida, mado his d6but at the Salon of 1863

L. Hon. '74! * * with the historical subject. The Death of Oata

M«d.Hon.*77; Of. u. Hon. '78. That year, it will be recalled, was the one of readjustment of art relations, and of the height of the reaction against

486 -A HISTORY OF FRENCH PAINTING.

the olafisic. He presented the next year the Death of Tiberias, and was then deflected in 1864 into a genre pictnre. After the BalL Sab- aequently Bible history chiefly occapied his brash. His earliest art, however, had been cheap frescoes of saints in the charches of the Tillages of the Alps, for which he travelled in a cart with a company of wandering painters. Bat at twenty-nine years of age he won the prize in a competition proposed by the encydopsdist, Laroosse, for a pictare of The Sapper at Beaacaire.

In Ang^iut, 1798, Napoleon I., then only a Captain of Artillery, pnbliflhed at Avignon thioDgh the travelling printer-in-ehief of the army, Anrel de Valenoe, a brochure aiming to present the political opinions of the Sonth of Fnmce as he had learned them at a chance sapper at Beaucaire. At this his companions at table were two Maraeilles merchants, a mannfaotnrer from Montpellier, and a resi- dent of Nimes, drawn thither by the annual fair there, of such antiquity that its lights had been conilnned at the commencement of the thirteenth century.

Each character is finely conceived in this, and the yonng artist gave promise of fine powers of composition, which have since been confirmed in his Death of Marceaa, which won for him the Orand Medal of Honor and has remained his masterpiece  : ^

That repnblican general, only twenty-seven years of age, has Just been killed, and, clothed in his uniform, the handle of his sabre in his hand, lies upon an improvised bed, at the right of which are seated and weeping three of his fellow soldiers, one also a faithful friend. At a door opening at the left, Austrian offioeiB, the enemies of the day before, now grave, respectful, eyen moved, enter to salute the French ofSoer at his funeral. The various physiognomies are well studied* After the impressionists' treatment of color, Marceau*8 uniform of green is seen on a red mantle above a figured coverlid, and in the background a yellow screen of good value of tone, but criticised as too important a hue for its place.

Laarens is an intellectnal artist, having a fall conception of dramatic effects. In the tragic snbjects which he greatly affects and which have given him the title, '^ painter of the dead, he maintains qoiet conservatism ; he exaggerates neither expression nor gestare, and from details, of which he is fond, selects most f elicitoas combi- nations. He also skilfnlly forms historic types from popular con- temporary forms, especially of provincial and rnstio character. His selections from the gloomier side of history are farther iUastrated by his works:

Separation of Bertha and Robert the Pious by Order of the Pope^ Ezoommoni- catlon of Robert the Pious (Luxembourg, 1876); Fr6dlgande; Frsr^oBoo di Boigia before the Body of Isabella of PortugaL

>Owned byM. Turquet, Piris, it was exhibited in New York In 1880^ together with some of the representative works of the impresaioniBts of Paris.

THE NINETEENTH CENTURY. 437

Among the younger artists of historical tendencies is F. Humbert, a follower of PuTis de Ohavannes^ whose St. John the Baptist of 1874

in the Lnzembonrg, and whose exhibition of 1886, (184a"*"), pmT«. In Times of War, executed for the mairie of the fif- M«d. '66, '69. '69. teenth arrondissement, Paris, are of a beautiful and 3dci. 78, . on.»78. g£f^|jjyg simplidty. His treatment is skilfully real- istic and, among his latest works, The End of the Day, of 1885, in which the laborers are receiying their hire, is a piece of rustic genre of the highest rank. But his previous works are almost exclusiyely historical, such as :

Flight of Nero (1866): CBdipos and Antigone finding the Bodies of Eteooles and Polynioes (1866): Ambroise Par6 and the Duke of Nemoois (1868): John the Baptist; The Fortune Teller (1872): Christ at the Ck>lamn (Orleans Mnaeom, 1875): Woman taken in Adultery (1877): Salome (1880).

Lton Glaize and his father Auguste B. Olaize, a ferrid romanticist who was his son's instructor before he committed him to G&r6me,

exhibit since the d6but of the younger in 1869 side

Pi«rr«  Paul Lion Gtdz«  , .- , .% rt i ' i i_iit^

(1843. ), Paris. by Side at the Salons, each receiving both honor

M«d. '64, '66,  »«8. ^ and censure. The younger has adopted historical

»t ci.  »78. . on. 77. subjects. Hc does not equal his father in facility of brush or power of imagination or brilliancy of fancy ; and his award of a medal in 1864 for The Treason of Delilah was condemned because of the lack of drawing in the picture; but the jury of recompenses, then a severe one, in 1866 repeated it for his Ohrist and the Ten Lepers (Church of the White Friars, Paris), and again in 1868 for portraits. His work of 1877, The Fugitives, is of distinguished merit and success :

Inhabitants of Athens during the siege are being let down from the waUs by ropes. Family groups— a mother in whoee face anxiety is keenly depicted dose to the innooent, happy fiwe of the infant; a husband about whose neck clings the more helpless wife and beneath whom hangs liis armor— are poised in mid air above an unseen depth, with their shadows sharply defined by the moonlight on the wall behind them. It is full of vigor, giving a fine effect with simple means.

Barrias, pupil of L^on Oognief and one of the Salon " forty," continues for his own pupils the traditions of his master's tendencies to F«iix joMph Barrkt classicism. Hc has been commissioned to decorate (isaa. ), Paris. iu frosco many of the public buildings of Paris, and

M^. 3d 0^47!^' *^ ^^ pictures purchased for most of the Mu- itt el. 'si: ad el. 's5. scums of Fraucc, as The Exiles of Tiberias in the L. Hon. '59. Luzombourg, and The Landing of French Troops

in the Crimea for Versailles.

i38 -A HISTORY OF FRENCH PAINTING.

Merson, the pupil of Ohasseyant and Pils, with well-developed design and carefnl stady in a very original manner^ follows the his- Lucoiiviar M«rton torical tendency. He has attracted extended notice 11&46- ). Pari.. for hig Bepose in Egypt of 1879, in which the Virgin

Mad. ittci. '73. with thc child rests Id the arms of the Sphinx, and L. Hon. '81. which is treated with great realism. The son of a dis-

tinguished art critic, his own extended reading affords him a wide field of choice of subjects, and he paints only such scenes as have impressed him with great yividness.

Of the younger artists none show a more constant fealty to the muse of history than Bochegrosse, a pupil of Lefebyre and of Boulanger. Gaorgat Rochagrotta His qualitics are an acute and intelligent sna-

(contamporary), varaaiHat. ccptibility to thc great Icssons of history, and a/ci.%3. ' ^ ^ ^^^ exaltation of feeling that these arouse,

Prix da Salon '83. and also au actiye and impassioned sentiment

for liying realities ; these lead him to make use of, on appropriate occasions, both the classic tradition and actual nature. In 1887, for example, his picture. La Curia, or Death of Oassar, was taken from Plutarch and treated with classic simplicity, while a Salome gaye occasion for all the rich details of Asiatic sumptuousness. In the former, he was enabled by the uncoyered Curia to giye that pre- ponderance of sun and air that in the contemporary school makes the difficulty of preserying form and modelling so great and, when oyercome as here, so effectiye, Bochegrosse's clearness finely sur- mounted it, and threw into admirable relief a well-defined figure in the foreground. Other works are  :

Gaius Julius CaBsar ; Vitellins dragged through the Streets of Borne (188S) Andromache (1888) : La Jacquerie (1886) : Madness of Nebuchadnezaar (1888).

Other historical painters, chiefiy Hors Concours, are  :

Gamille FSlix Bellanger (contemporary), Paris  : pupil of Cabanel and Bouguereau; medal 8d class '76. — ^Louis B^roud (contemporary), Lyons  : pupil of Gourdet, Bonnat, and Lavastre ; medal 2d class '88. — Francis L^n Benoayflle (1821- ), Paris: pupil of Picot, and brother of the landscape painter; Prix de Rome '46; medal 2d class '62, '66  ; 1st class '38 ; Legion of Honor '65. — ^Hippotyte Dominique Berteaux (contemporary) : pupil of H. Flandrin, Qalland, and Baudiy  ; medal 8d class '83 ; 2d class '86.— James Bertrand (1836- ), Lyons : pupil of Perin and Orsel ; has true grace of style and imparts a deep religious sentiment to many of his works ; medal 8d class '61, '88, '89, and '78 Exposition UniTerseDe; Legion of Honor '76.— Paul Alberi; Besnard (contemporary), Paris : Prix de Rome '74 ; medal 8d class '74 ; 2d class '80  ; pupil of Cabanel and J. Bremond.— & J. B. P. Bin (1826- ), Paris  : pupil of (Sosse and Gogniet ; Prix de Rome '60 ; medal '66, '69 ; Legion of Honor '78 ; has chiefly decorated buildings both public and

THE NINETEENTH CENTURY. 439

private. —Charles Addphe Bonnegraoe (1812-'82), Toalon  : pnpil of Gros; medal 8d class '30  ; 2d class '42 ; Legion of Honor '67.— Paul Emile Boutigny (con- temporary), Paris : pupil of Gabanel ; medal 8d class '84. — Alfred Henri Bnmtot (oontemporary), Paris  : pupil of Bouguereau  ; Prix de Borne '79 ; medal 8d class '79 ; 2d class '85. —Pierre Andr6 Brouillet (oontemponuy), Ohanronx : pupil of (}6rdme and J. P. Laurens  ; medal 8d class '84.—Armand Berton (contemporary), Paris: pupil of A. Millet and Gabanel; medal 8d class '82. — Bomain Gases (181(>-'81), St B^t : pupU of Ingres; medal 8d class '89, '68; Legion of Honor '70. — L. J. R. GoUin (contemporary), Paris: pupil of Gabanel ; medal 2d class '78; Legion of Honor '84 — ^Edmond Lecheyalier-Ghevignard (1826- ), Lyons: pupil of DrSlling ; medal 8d class '67 ; rappel '68  ; Legion of Honor '86. — ^Louis Gourtal (contemporary), Paris : pupil of Gabanel ; medal 8d class '78, '74  ; Ist class '76.— GustaTe Gourtois (1852- ), Pusey : pupU of G^me ; medal 8d class '78 ; 2d class '80 ; Munich *88. — L^n Luden Goutnrler (contemporary), Macon : pupU of Danguin and Gabanel ; medal 8d dass '81. — Joseph fidouard Dantan (1848- \ Paris : pupil of Pils and Lehmann ; medal 8d class '74 ; 2d class '80.— Jules Joseph Dauban (1822- ), Paris  : pupil of A. Debay ; Director of School of Fine Arts at Angers ; medal '64 : Legion of Honor '68. — ^Albert Pierre Dawant (contem- porary), Paris : pupil of J. P. Laurens; medal 8d class '80 ; 2d class '86. — Michel Dumas (1812- ), Lyons : pupil of Ingres ; medal 8d class '67, '61 ; Ist class '68. — Pierre Dupuis (1883- ), Orleans: pupil of H. Vemet and Gogniet ; medal 8d class '84. — Francois Flameng (1869- ), Paris  : son of the engraver, Leopold Flameng ; pupil of Gabanel, HMouin, and J. P. Laurens ; medal 8d class '77 ; Prix du Salon '79.— £mile Foubert (contemporary), Paris: pupil of Bonnat, Busson, and H. L^yy ; medal 8d class '80 ; 2d class '86.-^ean Michel Prosper Gn^rin (1888- ),Paris: medal '67 ; pupil of P. Flandrin.— Adrien Gaignet (1816-'64) : medal 8d class '44; 2d class '48 ; somewhat naturalistiG. — Ndlie Jaquemart (1846- ), Paris : medal '68, '69, '70 ; Sd class '78 ; decorated the church at Snresne, near Paris, in 1864, and excellent in portraits. — Ange Louis Janet-Lange (181 6-'72): medal 8d class '49 ; pupU of Ingres and Horace Vemet, whose style and subject of military inci- dent he Tery much affected and rendered with great sentiment. — Louis Jaimot (1814- ), Lyons: medal 8d class '46 ; 2d class '59, '61 ; pupil of Orsel in Lyons and of Ingres in Paris. — Paul Louis Jenoudet (contemporary): medal 8d class '83 ; pupil of Boulanger and LefebTre. — Pierre Lagarde (contemporary), Paris: medal 8d class '82; 2d class '86.— Joseph Seraphin Layraud (1884- ), Laroche-sur-Bois  : medal 2d class '72 ; Prix de Bome '68 ; pupil of Loubon and Cogniet. — Julien LeBlant (contemporary), Paris  : medal 8d class '78 : 2d class '80; I^egion of Honor '86. — The vigorous pupil of Gabanel, A. P. Lehoux (1844- ), Paris : medal 2d class '78 ; in 74 took a first class medal, the Prix du Salon, that being the first time that it was awarded, and had a work. The Martyrdom of St. Lawrence, placed in the Luxembourg. — Francois Joseph Aim6 de I^mnd (contem- porary), Thionville: medal 8d class '44, '68; Legion of Honor '66. — Jules-Louis Macluurd (1889- ), Sampans  : pupil of Baill6, Signol, and £cole des Beaux- Arts ; Prix de Bome '66 ; medal 1st class '72 ; 2d class '78 Exposition (Jniverselle : Legion of Honor '78  ; his historical painting is chiefly from mythology, and is as gracefully treated as that of the neo-grecs. — Albert Maignan (contemporary), Beaumont; pupil of NoSl and Luminals ; medal 8d dass '74  : 2d class '76  ; 1st class '79 ; L^^on of Honor '88 ; paints somewhat like Luminals.— Diogdne Ulysse Napolfoi

440 Ji HISTORY OF FRENCH PAINTING.

Maillart (1840- ), ChaiUB^e-du-Bois-cle-rEca : pupil of Coma, TiUflmlein, and Cogniet ; Prix de Rome '65 ; medal '70  ; 2d olaas '78.— P. N. Maillot (18^0- ), Paris : pupil of DrSIling and Picot ; Prix de Bome '54 ; medal '67 ; L^on of Honor '70.— Henri Chiillaume Martin (oontemporary), Toulouse : pupil of J. P. Laurens ; medal Ist olass '88, by Paolo di Malatesta and Fxanoeeca da Bimim.— Paul Biathey (contemporary), Paris: pupil of Pils and Cogniet ; medal 8d olaBs '76 ; 2d dasB '85. — Eugdne H^dard (contemporary), Paris: pupQ of Cogniet, 04r5me, and S. Comu ; medal 8d class '79  ; 2d olass ^86 ; paints also genre. — ^Luden Mflingue (1841- ), Paris  : pupil of Cogniet and G^i^me  ; medal Ist class '77 ; Legion of Honor '80 ; his Stephen Maral and the Dauphin (1876) is in the Luxembourg. — Jules-Joseph Meynier (1826- ), Paris : pupil of Delaioche, Gleyre, and Bridoux; medal '67 ; 2d class '77 ; also paints genre.— Charles Henri Michel (1817- \ Fins : pupil of ficole des Beaux-Arts; medal 8d class '61; medal '65, '67. — Geotges Moreau de Tours (contemporary), Ivy-sur-Seine  : pupil of Cabanel ; medal 3d class '79. — Aim6-Nioola8 Morot 0^0- ), Nancy : pupQ of Cabanel and £oole des Beaux-Arts  ; Prix de Bome '78  ; medal 8d dass '76 ; 2d class '77  ; Ist class Td  ; medal of honor 1880 by exhibition of his Good Samaritan  ; one of the Salon "forty" and a son-in-law of Q^rOme.— IJUie Nonderoq (contemporary), Yalen. dennes: pnpU of Caband  ; medal 8d class '81. — Claudius Popdin (contemporary), Paris : pupil of Ary Scheif er and of Picot ; medal '65 ; Legion of Honor '69. — Jean- Andr6 Bixens (contemporary), Saint-Qaudens : pupil of Q^rdme; medal 8d cIbbb "76; 2d class '81.— Lionel Boyer (contemporary), ChAteau-du-I^re : pupil of Caband; medal 8d dass '84.— Charles Augusts Sdlier (1880-'82), Nancy; pupil of Leboigne and Cogniet ; medal '65  ; 2d dass '72  ; Conservator of Nancy Museam. — ^Marie Anne Bosalie Th^venin (contemporary)l Lyons: pupil of Cogniet and Joseph Paris; medal 2d class '49; rappel '59  ; rappel '61.— Eugene Bomain Thirion (1889- \ Paris : pupil of Picot, Fromentin, and Caband : medal '66, '68, '69 ; 2d dass '78, Exhibition Uniyerselle  ; Legion of Honor '62 ; excels in modeUing and color. — ^ouard Toudouze (1844- ), Paris  : pupil of A. Ldoir, Pils, and the £oo]e des Beaux-Arts  ; Prix de Bome '71 ; medal 8d class '76  ; 2d dass '77.— Adolphe Web- ber (184^ ), Boulay : pupil of Marshal, Cogniet, and Caband ; medal '67.— Jean J. Weerts (1847- ), Boubaix: pupil of Pils and Caband  ; medal 2d class '75; Legion of Honor '84.

The following are historical painters who, having lately reoeived the dd dass medal, are rapidly 9n route for Hors Ooncours :

Adolphe Ase (1822-'84), Paris : pupil of Bobert-Fleury; medal 8d dass '51, '68. — Jules-Cyrille Cav^ (contemporary), Paris: pupil of Bouguereau and Tony Bobert- Fleury  ; medd 8d dass '88. — Alphonse £tienne Dinet (contemporary), Paris  : pupil of GaUand, Bouguereau, and Tony Bobert-Fleury  ; medal 8d class *84 ; also paints landscapes. — Leopold Durangd (contemporary), Marseilles : pupil of H. Vemet ; medd 8d class '86.— Jules Feny (1844- ), Bordeaux  : pupil of John Lewis Brown and Caband  ; medd 8d dass '86. — Paul Grolleron (contemporary), Sdgnday: pupil of Bonnat; medd 8d dass '86. — ^Paul Alexandre Alfred Leroy (contemporary), Paris : pupil of Caband  ; medd 8d class '82. — Antonin Merci^ (contemporary), Lyons: pupil of Fdguidre, aod wdl known as a sculptor; medal 8d class '88.— Victor l)mile ProuT^ (contemporary), Nancy: pupil of Gabanel ;

^40 A HISTORY OF FRENCH PAlNTISfJ

MailJ;»rt {1R40-. ., Chauss^-du-Bois-de-rEcu : pupil of *'orim, LaoirJ" •.. Coirniet , Prix (1«. Rome '65 ; metlAl '70  ; 2d class '73.— P. X. Maillot '^:^- Paris  : pupil of Dr. ling and Picot , Prix de Rome *r>4 , mwlal '67  ; i>  : HoMf>r '7" -Htmri <4milaunie Martin (contemporary), Toiai/ii-se : i»up!i *'\ . Lanrtns; njciial 1st clasfi 'h8, by Paolo di Maiat(*sta and Prancesca <ia Rir jMh Mathi'} ^conli'mporar}'), Paris; pupil of PiLs and Cogniot ; uiedal 3d « 1 1 .♦. class *bo. — K.iiT^^n*' ll»'<lard (conU»mporary\ Paru: pupil of Cognit?t, (i^r rr 8. Comu  ; iiio<i<il  :ki class '79  ; 2d <l*is8 '86  : paints alsf» genre, — 1 iici^n M. ' (1841- \ I'ariM  : pu[)il of Coj^niet and ft^rome  ; medal 1st class '77  : Li-;- . Honor 'Hi; ; his Stf [>h^n Maral and the Dauphin (1876) is in the Luxeml»"uri: • Jules-Joseph Meyuu-r (1>526- ), Paris  : pupU of Delaroche. Gleyre, and Br^U'.-..- medal *67  ; 2d class '77  ; also paints genre.— Charles Henri Michel 0*>1 ♦- Fins  : pupil of 6<oie d«»*t Beaux- Arts; medal 8d class '61; medal *65, '67. — Gecrv Morcau de Tours 'c^.nt^'inporary), Iry-sur-Seine  : pupi! of OiDanel ; medal 'Jd «*  ;\- '79. — Aim^'-Nicolas Morot (18o0- ), Nancy: pupil of Cabanel and £ccl'  !• Beaux-Arts  ; Prix <le Home '73  ; medal 3d class '76  : 2d class *77  ; 1st clas.- 'T medal of honor 18^*0 bv exhibition of his Good Samaritan  ; one of the S** ■

• • forty" and a son in-law of Gcronic. — fjlie Nonclercq (contemporary i, V:xl

cieiPU's: pu}>il of Ciii)anel  ; medal 3d class '81. — Claudius Popelin (contempt lai • PariH pupil of Aiy Sjh»»fTer and of Picot : modal *65  ; Legion of Honor '69 — .!•..':■. Anilre Hixcus ((-(.ntt Mif)orary), Saint-Gaudens: pupil of (j^rSme; medal 8d i lu?*» ". 2d clas*} 'til. — Lionel ftoycr (contemporary), Ch&tcau-du-Loire : pupil of Caban m»'<lal 3d class 'S4. — C'harles Auguste Sellier (lb3f)-*82), Nancy: pupil of L«'bor;^T. and i OL'-nict  ; m»dal 'tJ6  ; ^J^clu-^ ^2|; (^]^tJKa^^(Pf ifancy Museum. — M-v- Anno K.'Siiii" TS'venin (cofIMrrf)^^mT7)7I.yoAT p^Jpii of Cigniet and Joseph Y*i^Ti* mHilal *^M i'la5s '19; rappel '59  ; nippcl '61.— Eu^rcMie Romain Thiri'-u (l>sJ$^ Puns  : pupil Li Picot, FrojrAMttR^'aM'^Va'6USi^>'tn^l '66, '68, '60  ; -^1 c.a«  •78. Kxhibn-t-n Uni^cr^ciie  ; Legion of Honor '62  ; excels in modelling and color. — f .l«)U!iid T.»ijdU/" '1M4- ), Pans  : pupil of A. Loioir, Pils, and the ftc«>i*«  *\^ l^aux Arts  ; i'nx de liomo '71 ; medal 3d class "76  ; 2d class *77.— Adolpbt Web- Ixjr (1>^42~ ), Bouiay: pupil of Marechal, (Jogniet, and Cabanel ; medal '67. — Jf..-i:. J. Wt'ort -.(."> 17- ), Roubaix: pupil of Pils and Cabanel  ; medal 2d ol.isj» 7'); L(g.on of honor '><4

The followinii are historical painters who, having lately re<"eivi-<j tlio 3d ola«! inv hil, are rupidly #n route for Hors Concours :

Adolj.he Aze (|.^22-'8t), PaM? pii{>il of Robert-Flnur>': medal 3d cias< Tl. rt:^ — Jiilts-< jr.Ilf* -a.'^ • ^oMA'ini'onirv), Paris: pupil of Bouguereau and Tooy II. Un. Fl"i«ry  ; ii'. dil 3d cja^s '88. — Alj^.-i'^usc £tienne Dinet (oontemporarv . p.,f ,• piid of (jiillaiui, BoutrnnD'au, Jiiid Tony \l l>ert-Fleury  ; medal 3d ' ia.%- *• H- t'»\i'".s laiid*4 •H]>es. — Leor* ild Durangcl '» ontemporary), Marseill<*8  : Ti«ip '•'....'i; in»j'i.'iJ J^l class b6. — .IuI^h Kerry ^1^^44- ), Bordeaux: pur-n f

rj'^v-Ti and Cabanel  ; medal 3d cUiss '*?(>. — f*aul Grolieron (contcn4> . . ', IjvV: pupil of Hornat: me<l d hd c'ass '86. — Paul Alexamlre Alfnd L • •.' MHornrv). Piiiid  : pupil of Caliaiicl  ; medal 3d class '82. — Ant*«uni V,* • "•;:]'• i-poraryi, lytms: puoil of Ksdi^'uiere, and well known as a sculptor i. • 'M  »".^,v< '8M. — Vict\>r Knule Piouvo ^eoutemporary), Nancy: pupil of Ciit>ar-i

THE NINETEEI^TH CENTURY. 441

medal 8d class '86.— Alfred Paul Marie de Riohemont (contempoiraiy), Paris : pupil of Bin and Michel ; medal 3d class '86.— P. Lten H. Bud (contemporary), Paris: pupil of Pils ; medal 8d class '86.— Stanislas Torrents (contemporary), Marseilles : pupil of Couture; medal 3d class '76.— Gabriel Tyr (1817-'68), St. Paul de Mons : pupil of Victor Orsel, whom he aasisted in the decoration of the Chapel of the Holy Angels at Notre Dame de Lorette (begun 1886).— ]fiidouard Vimont (1846- ), Paris : pupil of Cabanel and Maillet ; medal 3d class '86. — ^Pharaon Abdon Lten de Winter (contemporary), Ballleul : pupil of Cabanel, J. Breton, and Colas ; medal 8d class '86.

The following are painters of history and genre  :

Paul Joseph Blanc (1846- ), Montmartre (Paris) : pupil of Bin and Cabanel ; Prix de Rome '67  ; medal '70 ; Ist class '72 ; 2d class '78 Exhibition Dniyerselle ; Legion of Honor '78 ; his Perseus (1870) is in the Luxembourg.— ]fiidouard Th6o- phile Blanohard (1844-'79) : pupil of Picot and Gros  ; won Prix de Rome in '68 after being second in the competition of '67 and third in that of '66  ; medal 2d class '72  ; Ist class '74.— Piorre Nicolas Brisset (1810- ), Paris  : pupil of Picot and iSicole des Beaux- Arts  ; Prix de Borne '40  ; medal 2d class '47, '65  ; Legion of Honor '68. — Jean Charles Casin (contemporary), Samer : pupil of Lecoq de Bois- baudran ; medal Ist class '80 : Legion of Honor '82.— Albert ]fiidonard (184&- ), Caen: pupil of Comu, (Jdrdme, Cogniet, and of J. E. Delaunay; medal 8d class '82  ; 2d class '86.— Atienne Gautier (contemporary), Marseilles  : pupil of Chantigny  ; medal 2d class '78 ; Ist class '78; Jjegion of Honor '71. — ^Fran^ois Desir^ Laug6e (1828- ), Maromme  : pupil of Picot ; medal 8d class '61  ; 2d class '66 ; rappel '69; medal 1st class 61 ; rappel '68; Legion of Honor '65. — His son and pupil, Georges Laug6e (contemporary), Montiviliers  : pupU also of Pils and Lehmann  : follows J. Breton's subjects ; medal 8d class '80.— Alexis Joseph MazeroUe (1826- ), Paris : pupil of Dupuis and Gleyre  ; medal 8d class '67, '59, '61 ; Legion of Honor '70 ; Officer '79  ; paints chiefly historical and mythological genre. — Ernest Barthdlemy Michel (1888- ), Montpellier  ; pupil of Picot and Cabanel; of great promise and talent ; Prix de Bome '60  ; medal '70  ; Legion of Honor '80.— Dominique Papety (1815-'49), Marseilles: pupil of Cogniet and £cole des Beaux- Arts ; Prix de Rome '86.— Anatole Vely (1888-'82) : pupil of Valenciennes Academy of Signol in Paris and of ioole des Beaux-Arts  ; medal 8d class '74  ; 2d dass '80.— Marcel Verdier (1817-56), Paris: pupil of Ingres and fioole des Beaux-Arts  ; medal 8d class '87 ; 2d class '48.

THB ICILITABY PAIIITBBS.

Military painting is classed as a form of the historicaL The Franco-German War of 1870-71 supplied the incentive which, find- ing technical skill developed to hand, created a class of strong military painters of the last years of this period giving themselves entirely to military subjects. For the entire century France had not been with- out distinguished painters of battle scenes. David, Baron Gerard, Baron Gros, G6ricault, Carl and Horace Vemet had illustrated the military achievements of the Bepublic and First Empire, as Meissonier more recently had turned back to do, and Yvon, Protais and Armand-

442 A HISTORY OF FRENCH PAINTING.

Dumaresq recorded the achieyements of Napoleon HI., bnt this wa6 but one of their seyeral classes of sabjects. Now, young painters threw themselves into battle, and from their painful personal experience depicted with great realism battle scenes and army life. A laige number of artists indeed, as Bastien-Lepage, Detaille, Vibert, Jaoquet, Ouyillier, De Neuville, Begnault, Olairin, Leroux, Barrias, formed an Artists' Battalion.

Contemporary military painting is greatly modified by the con- temporary demand for accuracy of detail. Since the truth of each assumed historical statement must be assured before attention can be given to pictorial effect, less extended representations are given  ; bnt these realities of detail produce most impressive effects. The magni- tude of modem warfare has also led to the representation of side issues, of incidents of soldier life, of skirmishes, rather than, as by G6rard and Gros, of the panoramic display of the entire battle. Con- spicuous among modem military painters are DetaiUe, De Neuville, Beme-Bellecour, Protais, and Dumaresq, while the brush of Philippo- teau is still wielded with his wonted skill. Of these the younger ones, fresh from the battles of 1870 and 1871, now have the greater prominence, Detaille, the youngest, leading all ; but in an historical account they must give precedence to earlier painters.

Philippoteau, a ^' pupil of Gogniet," belongs to the generation just

passing away. He did not entirely confine himself to battle scenes,

Henri Emanuel F*iix ^^* *^® uumbcr of them hc paiutcd is very large.

Philippoteau In 1875 he exhibited a Charge of the French Cuiras-

M^d"  !d^'cr*37' 8^®™  »* Waterioo, and in 1876 Charge of English Med. ist ci. '40. Heavy Cavalry at Balaklava, now in the Boyal Aca- L. Hon. -46. ^^^y^ Londou. His Louis XV. on the Battlefield

of Fontenoy is in the Luxembourg.

Yvon, a pupil of Delaroche, was a painter of history and portrait at the opening of this period, and took a first class medal at its first Salon, having but three years before exhibited his first picture other Adoiphe Yvon than portrait, Christ Expelling the Merchants

(1817. ). Etchwiiier. from the Temple, of 1846. Post Belays in Bus-

Mild. Hon. '57. ' ^ ^^ "' ^^^9 which hc had studied from the reality the ad ci. -67 E. u. year before  ; Bussian Peasants' Dance ; Tartars

L. Hon. .55; Of. L. Hon. .67. ^j ^ubianka making Tea  ; and drawings of the

personified qualities. Anger, Luxury, Avarice and Gluttony from Dante's Inferno in the elevated style required, showed for tiie two Salons of 1848 and 1849 diverse powers and two distinct styles, the allegorical and the naturalistic. In 1850 these were again manifested

THE NINETEENTH CENTURY. 443

by figures of the nine Muses and the continuation of designs from Dante ; Envy, Pride, and Indolence, with the Battle of Eoulikorom, 1378. This revealed his aptitude for military painting, and won for him, at once, official commissions for the gallery of Oompidgne. The First Oonsul Descending Mount St. Bernard appeared in the Salon of 1853, and by the painting of Marshal Ney in the Betreat from Bussia and Le Telegue Busse of 1855 he won a decoration and the appoint- ment to join the army of the Crimea to paint the incidents of that war. Of these are his three greatest works, pictures then of unusual dimensions ; they were warmly applauded by the public, for they memorialized what had been first, their solicitude, and then, their joy, the conquering of the key to Sebastopol ; but they were much discussed by the critics, all of whom, however, pronounced them of wonderful composition and invention. They were of the natural- istic style of Horace Yernet, and in them, as in Vemet's works, impor- tance is given to seeming trivialities. They won for the artist the Grand Medal of Honor. They were The Capture of the MalakofF (1857): The Gorge of the Malakofi! (1859) ; and The Wall of the MalakofF (1859). Ivon gave, in 1857, two representative pictures of the Battle of Inkerman, painted from sketches taken on the spot ; one is a series of the actual incidents of the strife, and though therefore not a conventional battle-piece, gives the impression of an actual battle  ; the other is the Bussians in Betreat, in which the Muscovite columns that in the first picture drop down in torrents from the mist-enveloped hills, are flying in the same November air before the victorious arms of the allied forces.

An immense canvas. The United States of America (Salon 1875), ordered of Yvon by the late A. T. Stewart and covering one end of the ballroom of the Grand Union Hotel, Saratoga, illustrates his other style, the symbolicaL Twenty-four figures, representing the States, are grouped around a central one representing the Be- public.

Armand-Dumaresq, after instruction in Couture's studio, through charie. ^douard Armand-DumarMq aocompanyiug iu 1854 the anuy to Algiers (i8a6- ). Parit. and Italv bocame a i>ainter of military

L*Ho^n. 'e;; of/L^Hon. '8.. «^^^' ^^^^^ ^^^^ ^"^^^ ^^ had paiutcd

Of. St. Maurice '59. chicfly rcligious history, as  :

Christ (1850, chnroh of Ddle): St. Bernard Preaching a Cnuade (1852): Martyrdom of St. Peter (1868, Cathedral of Caen) : He then appeared (1855) with, besides The Attributes of the Arts and Sciences, two military pictures, The Second Zouaves in Ambush, and Death of (General Hirgener.

444 ^ HISTORY OF FBENCE PAINTINQ.

From that time almort every year he has exhibited a militaij pieoe, twenty-six in all, snoh as  :

The Battles of Solf erino (1860 and 1886) : Day before Solferioo (1880) : Day before Aueterliti (1869).

Since the recent movement of the impressionists he is counted in iheir ranks. His military inspiration has been broad enough to lead him back to the American Battle of Saratoga (1879), and the Sorren* der of Yorktown (1875). He also in 1873 pointed The Signing of the Declaration of Independence.

Protais is the annalist of the Crimean and Italian Wars, to both of which he followed the French armies, as weU as of the more recent Franco-German contest His Morning before the Attack and The P.«i Ai.««dr. Protai. ETcning after the Combat, in the Salon

(1826. ), Paris. of 1863, and also in the XJniyersal Ex-

Mldi?d'"'78 E u*^' ^" *"* """*' ^' ^^^^^^ o' 1^67, are two of his most

important works. ' He is full of gentle feeling, shown in both his choice of subject and in his treatment, as in his Burial in the Crimea ; his Female Sentinel of 1861 and his Sol- diers' Night March of 1870, in which no movement of the weary limbs for aught but dire need is made as the figures pass in a ghostly, weird way through the shadows of night. He presents soldiers in a manner which makes us feel the common humanity which they share with us  ; the relations of the indiyidual not being lost in the clamor and confusion of battle. He shows them as men in their need of rest, their efforts for shelter behind a hiU or tree, and as soldiers in their quick alacrity to reform for the march on to the battle front His Square Battalion was purchased by the Gtovemment from the Salon of 1886.

Beme-Bellecour formerly painted landscape and genre, but now paints modem warfare in its actual incident, and often gives pictures of

^tl.nn. Pro.PT BTn-B.l..co«r  » battle iu which but OUC anuy is

(1838- ), Bouiogn«.«ur.M«r. visiblc, 88 is frequently the fact

M«d. '69 ; ..t cl. -72 : 3d cl. '78 E. U.j L. Hon. '78. J^ J^ (J^^p ^^ CaUOU, a pictUW

of this class, the men and officers are peering through the smoke to see the result of the firing of a gun. He painted a picture of The Engagement of the Artists' Brigade at Malmaison, in which he gave many portraits of the artists ; CuviUier is supported by companions ; Lerouz is wounded  ; Jaquet eager to fire a last shot. By his accu- rately painted earth- works and barricades, and his backgrounds painted

> The Emperor paid |96|000 for the two from the Selon of 1S63.

THE NINETEENTH CENTURY. 445

from miniatnre models, made from pen and ink sketches taken daring the war, he supplies the truth of detailed accessories demanded by the age. In the Salon of 1881 he gave The Attack on the Ohftteau de Montb61iard, in which the surprised Prussian sentinel lies dead in the foreground, and the French creep up in a long file towards the fortifications.

Of the two dose competitors for the leadership in the later mili- tary painting, Detaille, ten years the junior, somewhat surpasses De Neuyille, who has now, moreover, dropped out of the ranks (1885). Detaille entered the studio of Meissonier in 1865, immediately after receiving the degree of Bachelor at the Lyc6e NapoUon. He

was in full sympathy with that master's

(r^-^Tp-^'""' °**'"'* '^^^ ^' ^®**^' ^^ ^^' ^^^®®^' conspicuous M*d. '69. '70; 2doi. '72. among the painters fond of microscopic

u.Th^^^w.' *"* "**"' ^ treatment, ffis work responds to the eye

'^like the famous general, who, upon the eve of battle, said : ' We are ready, quite ready  ; we do not miss a gaiter Dutton."' But, using infinitesimal finish only as a means, Detaille aims at and achieves a far broader artistic result than many others of the photographic painters. When, in 1870, he took up arms in aid of his invaded country, he served as secretary to Oeneral Appert, who was making topographical plans of the seat of war and the positions of the Prussians. But Detaille, mindful of his art, would even, when drawn to fire upon the enemy, be seen a moment after sketching inci- dents or scenes of his sumoundings. Before the war he had exhibited : A Nook in Meissonier's Studio ; Grusaders Shoeing their Horses on the Boad  ; Halt of the Infantry (1868), and Repose During Drill in Gamp St Maur (1869). The last, painted at twenty-one, gained for him his first medal ; high praise from those critics of authority, Th6ophile Gbutier, Edmond About, and Paul Mantz ; and more orders than he could execute. It confirmed the military tendencies of the pencil sketches of his school days, which had ended but four years before. It showed a photographic exactness of reproduction, missing no line nor mass of light or shade, and a great ability in depicting both horse and man. But, as yet, there is no skill of com- position, no balancing of parts, no gradation of significance— dimply reproduction. The officers during the rest light their cigars, arrange their accoutrements ; the privates stand by, or sit on their knapsacks, smoke their pipes, refresh themselves from their canteens, or take a bite of soldiers' bread. Thus the war found Detaille in skill of tech- nique, and by bent of talent ready for the vivid depicting of its events

446 ^ HISTORY OF FRENCH PAJNTINQ.

80 personal to every Frenchman. Fact did not allow him to paint Yuy tones for the French  ; feeling did not permit him to paint them for the Prussians. It suggested a series of sarcastic but truthful picture of exact finish, correct color, and artistic composition, and though maintaining always his great qualities, sobriety, precision, and simple dignity, keenly characterizing the nationality of the soldiers, and de- picting the faults and foibles of the conquering army. These found most welcome reception by the people. Our Conquerors, of 1872, one of them, won him a medal. Lean horses draw a four-wheeled cart loaded with pillage-— furniture, pictures, and bric-&-brac From this, Prussian soldiers are making sales to the Jewish traders who haye followed them out of Paris. So much had this feeling impressed him that for the graceful decoration required for a fan he designed The Disappearance of the Clocks, and represented a swarm of Prussians growing smaller as they recede into the distant sky, with winged heels and a clock under each arm. His war scenes, which comprise all his art since the war, imply rather than represent the actiyities and suf- ferings of battle, being preparation for it, or the consequencee of it^ or times of rest from it. Of this restrained and suggestive treatment his Salute to the Wounded, of 1877, the chivalry of the French to the Germans, owned, like many of his best canvases, in this country, is an implication of the horrors of battle ; his Movement of Troopfl, of 1873, is a representation of the gay starting out, and implies battle to be, rather than depicts battle that is. His Passing Begimeni^ of 1875, is not only famous, but, in its widespread reproductions, universally familiar (Metropolitan Museum, New York).

Having become Hors Ooncours and an Officer of the Legion of Honor, Detaille does not seek the Salons. Of his later productions The Evening of Besonville, August 10, 1870 (1884), a landscape of great truth of detail, presents, in a picture ten or twelve feet long, a village street after a battle. The light of the setting sun crimsoning the peaks and windows of the houses, and the incidents of vegetation quietly continuing unchecked by the shock of battle, wonderfully enhance the impression of the disturbing nature of war.

His Defence of Champigny (December, 1870), pronounced by him- self his masterpiece, hangs with the 1807 — Friedland of his beloved master in the Metropolitan Museum, New York, the gift of Mr. Henry Hilton. The Soldiers' Dream, of 1888, won for him the Medal of Honor, and this award of his fellow artists was bestowed by his esteemed master's hand, a cause of mutual gratulation. The enemy, in its venerable chief, the Emperor William, yielded, if not to French

THE NINETEENTH CENTURY. 4A1

arms, to French art, as represented by him and the lamented De NenyiUe, and had in his bedroom, the only pictures there, engray- ings after these two artists, and under one of them his Majesty had written, with his own hand, '^ Homage from the victor to the van- quished."

De Neuville was an ^' 6tat-major attach^ " during the war, and so, no

more than Detaille, depended upon abstract conceptions for the aspects

^ . ^ ^ .„ of battle, but for himself saw an inexhaustible

Alphont* Man* d* N*uvill* ' ,

(i836.'85), St. om«r. Variety of episode, every detail of the sad history

M*d. 3d ci. '59 ; ad cL '61. ^j national defeat. Destined by his family for a

L. Hon. '731 Of. L. Hon. '81. . . ^. • •! j • • j x- i. • ji

post m the civil admmistration, he received a diploma for Bachelor of Arts, but his predilection for the artist's pro- fession led him unhesitatingly to forego the comfortable and easy life his home would have afforded and, without resources, seek the art privileges of Paris. He there took counsel of Yvon and Bellang6, and upon the recommendation of Bellang6 entered the studio of Picot. He had already acquired skill in drawing, manifested in a Naval School (for a fcime he had planned to be a sailor), and been told by his Professor of Drawing that he would never be anything but a painter. The support illustrations now afforded enabled him to wait to learn his profession carefully, and then with dignity also, although the professional painters taunted him with being only an illustrator, to await purchasers. Guizot's History of France, The Tour of the World, and Jules Claretie's History of the Flag are among his works of illustration. He made his d6but in the Salon of 1859 with The Fifth Battalion of Chasseurs, and won a third class medal. Success thus greeted him at the portal of his career. But it became a strug- gle, whose effects the great success of his last fifteen years never fully effaced, to remove the impression that he could not exceed the limi- tations assigned to an illustrator. Energy and industry resulted after- ward in an abounding production, in which he was further encour- aged by the purchase tor the Mus6e de Dijon of his Attack at Magenta (1864). The Bivouac Before Le Bourget (1872, Vanderbilt Gallery) is of great merit. That hamlet near Paris had fallen for the second time into the hands of the Prussians, when there was found in a church a band of about twenty French soldiers, with eight officers, still resisting. The picture represents the survivors carrying out in a chair their wounded commander. The figures are all portraits. The general tone of the picture is gray, bat very effective, showing a grasp of pictorial elements combined with the personal ezpressioD of the artist.

448 ^ HISTORY OF FRENCH FAINTING.

De NeuTille does not equal Detaille in design, nor is he a partio- nlarly fine eolorist, but he excels in depicting dramatic aspects. His tieatinent differs from Detaille's in toying with no snggestionB, but portraying the thick of the fight when battle is so intense that tiiere are no salntes for the wonnded, no regard for the dead, nor eyen care for the dying. Events compelled him, like Detaille, to depict cour- age in misfortune. He was a thorough Frenchman, and allowed his national sympathy to express in caricature the grim fierceness with which he characterizes the Prussian soldiers. He said, ^* I haye not painted the Germans of gentle mien and manners because they were not so ; the thought makes me shudder," and he caught with remark- able power almost undefinable national characteristics. His keen study of their soldiers led even the Oermans to appreciate his art The Last Cartridge, painted in 1873, showing the wounded soldier supported against a wall to fire a last shot, was fuU of the sentiment of heroism in defeat, and it, with Le Bourget, formed two impressive pages in honor of soldiers when yanquished  : a ^' gloria yictis." His Defense of Borke's Drift is an incident of the Zulu war painted on an order from the Queen of England. It is full of action, the English, in their red coats in the foreground, a surgeon dressing the wounded at one side. An Incident of the Franco-Prussian War, painted 1S83, shows a band of the conquering Q^rmans cutting the wires of the telegraph (owned by Mr. D. G. Lyall, Brooklyn). One stands upon his horse, which is steadied in its place by seyeral others, and deals doughty blows with a sword upon the two lines passing iu either direction from the top of the pole. It is the last blow, for the last wire is parting. Oroups and indiyiduals of the country people look on, showing satisfaction or chagrin according to their nationality.

De Neuyille died. May 20, 1885, a yery painful deaths preceded by partial paralysis. His marriage with Mile. Mariechal, a beautifol and brilliant actress, who had left the stage for him and shared all his struggles for twenty-fiye years, took place on his death-bed. He and Detaille were always on most brotherly terms, and painted together in 1881 the most celebrated of those gigantic optical illusions, the circular panoramas, the subject being the Battle of Ohampigny.

Other military painters, ohiefiy of the early part of this period under Napoleon in., are  :

Jean Adolphe Beaao6 (1818-'75), Paris : pnpil of C. Basin  ; medal 8d dasB til Legion of Honor '04.— Jules Vinoent Alfred Bigo (181C- ), Paris: papii of Oq^ niet ; medal 8d olass '57 ; 8d olass '69 ; rappel '61 and '68.— 'Ange L. Janet-Laoge^ who besides history also painted yerj touching incidents of battle.

THE NINETEENTH CENTURY. 449

Among painters of the later battles are :

£mile Antoine Bayard (1887- ), La Ferce-sons-JoDane : papil of Oogniet; Legion of Honor '70 ; also paints genre. — Atienne Beaumetz (ooniemporary), Paris: papil of Cabanel and Boux ; medal 8d class '80.— Bngdne Bellanger (1887- ), Bouen : papil of his father, L. H. Bellanger (1810-'06), the historical painter, and of Picot.— Henri LoaisDapray (1841- X Sedan : papil of Pils and Ck)gniet ; medal 2d class '72 ; 8d class '74 ; L^on of Honor '78 ; stands high in the modem school ; paints, like Betaille, no actual engagements. — Gaspard Gobaat (1814- ), Paris : medal 8d class '47 ; Legion of Honor '71 ; also paints landscape. — Jean Charles Langlois (178^1870), Beaomont-en-Ange: pupil of Girodet, Gros, and H. Yemet; painted chiefly in the early periods of the oentory, but in this, at the age of eighty- one, was made Commander of the Legion of Honor ; he became a colonel in the army 1889. — ^Also others with whom history predominates, as Le Blant and Boa- tigny («. Historical List).

LANDSCAPE AND KABIKB PAIKTEB8.

By the high quality bf its landscape with figures and animals, the continuing power of the French school in landscape might be shown, were it necessary to turn from the many artists of pure landscape, worthy products of the impulsion of the preceding period, which has been ceaselessly developing a feeling for the beauty of external nature and its changing phenomena. To them the liquid, melting scenes of Gorot have furnished a terra firma, the disputed ground of Bous- seau has become a firm foothold from which they reach higher for more extended effects. Retaining the aim of unity of impression, and with simplicity making artistic effect their purpose, the present painters of landscape are far advanced in the true artistic spirit of art for art's sake, in an appeal to the sympathetic imagination rather than by any conquest of technical difficulty. But landscape proper at the Salons,, notwithstanding the charming synthetic effects eyen then attained by the French landscapists, took a place secondary to rustic and other forms of genre, aa a surrounding to which, during the high tide oC that class of art, pictures of landscape were chiefiy hung. It is far otherwise now  : conquering Nature not only rules at the Salons in landscape proper, but the touch of her sovereignty is seen in every form of art A '^ sensation of landscape " prevails there. Bougue- reau shows his Aurora hovering over a scene of the morning all suffic- ing in itsell Besnard makes the nature that night offers in its starry sky the background of his decorative work, The Evening of Life. Even allegory and portraiture seek some contributions from nature : her sky, her sunset, her foliage, her flowers, or her waves. Under this power new theories are rapidly developing and most subtle

/

460 ^ HISTORY OF FRENCH PAINTING.

analyseB matoring the treatment of light in art, the most marked being that practised by the impressionists. Besides thnile Breton and !!^mile Bastien-Lepage, an architect, bat also an occasional painter of landscape, whose works, in connection with those of their brothers, go to prove that the trathfnl interpretation of nature is a gift in these families, there are many pure landscapists. Fifteen at least were chosen by the Gommission for the Decoration of the Paris HAtel de Yille (May, 1887), for works upon the panels of the grand stair- cases. They are : Bemier, Binet, 1^. Breton, Bnsson, Ghamay, Delahaye, Dement, Oosselin, Hanoteaaz, Lelidvre, l^mile Hichd, Pointelin, BafFaelli, Yon, and Zuber. Bnt amid all the tendencies to pure impressionism in landscape, attempts are being made to renew the Prix de Rome for Historical Landscape, abolished in 1863. To the urging of this by the Superior Gouncil of Fine Arts in 1885, the Minister pleaded the lack of finances, and in 1887 twenty thousand francs were contributed for that purpose by a private citizen, M. Haumont.

Binet is so close an imitator of nature as at times to give the veir Victor J. B. B. Bin«t ^^^ ^' reality, as in his Morning at St. Aubin

(eont.). Rou*n. (1885) ; La Pluie and Summer Morning (1886) ;

Mod.3dc..'8a;>dci.'86. ^fc^rnoon of September at St. Aubin (1887).

But he does not forget the appeal to feeling above all realism as such simply.

Bnsson, a pupil of FrauQais and B6mond, has since 1846 exhibited forty landscapes of great power, of which The Gkunekeeper Betnming chariAt Button (1866) is iu thc Luxcmbourg, and a charm-

o'?" >•. *^*»"*^*-, . .. ing Before the Shower was in the Salon of

M»d. 3d cl. '55 : r«p. '57. '59, '63. ^ ^^ ^. - ... , - , , j ,._ j

Mod. '67 ; itt cl. '78. 1883. His qualitics are breadth and freedom

L. Hon. '66: Of. '87. of exccution and marked power of inter-

preting nature's sentiment With this he maintains close and affec- tionate aDianoe by living in his native village the greater portion of the year, and reproducing its picturesque scenes.

Le Poittevin, called Poidevin, has been distinguished in landscape and marine, as well as in genre. A full account of his work is given under Bustic Oenre.

Harpignies, a pupil of Achard, made his d^but in 1852 in the line Honri Horpigniot of poctic laudscapc, and soon demonstrated his

(1819- ). v*ionci«nno«. worthincss to stand in the first rank as an

Mod. •««. '68, '69; add. '78. ... , . , . . , j -i a l.

L.Hon. '75 : Of. '83. artist both m water color and oiL As such

Mod. Phiu., Po., 'tc. he appears in the Luxembourg in six works.

Evening on the Oampagna (1866), which also commanded a medal ;

THE NINETESNTH CENTURY. 461

The Wolfs Jump (1877), of which there is a replica in the Orleans Mosenm; The Eiyer Anmance and A Benevolent Public (1874); The YaUey of the Anmance and Oaks of Chftteau-B^nard (1875). Only three years before this distinguished purchase by the government this now highly honored artist api)eared in the first exhibition of the Salon of the Bejected, but was so much incensed at the occasion as to destroy the refused picture. His landscapes are broadly treated, with great firmness of touch; are full of truthfulness, light, and great vigor of color. One of his most poetic landscapes, a Moon- light, is in the Metropolitan Museum of Art in New York. He is

• • le pdre of the jury both in age and the respect he commands in

that body.

S6g6, a pupil of Flers, painted with a sober execution in large Ai«xandr«  sM picturcs lumiuous compositions, such as Furze in

M^d '6 *•' 3d 01 • Blossom (1876, Luxembourg), and The Moor (1883), M*d. 3d ci. *78 E. u. in which the pink and yellow tints of the heath and L. Hon. '74. fuTzc coutrast with the gray of the barren rocks. He

rendered with great truth the poetic gloom and impressiveness of the moors of lower Brittany in simple and attractive style.

Yon, the pupil of L^guien, paints since 1876, before which he Edmond ch«ri«< Yon was a wood eugravcr, those dreamy pictures which (•836- ). Montmartro. ^j^^ Preuch syuthctical treatment of landscape ena-

Mod! ad el. '79. ^'^^ ^™^ ^ make of the environs of Paris. Such

L. Hon. '86. ig ^ig Biyer Eurc (1882) in the Luxembourg. His

Montmartre (to which district of Paris he clings) of 1870 was one of his most impressive works.

• • The painter of Normandy scenes," Pelouse, wins all sufbrages

for his talent, which produces charming landscapes with trees of great L<on G. PoiouM accuracy of drawing, and while his clouds are

(cont.), Piorreiay. sometimes cold, thcv are emphatically the clouds

Mod. ad. cl. '73; ••tol. '76. ... k mL • • \^li x x-l

9d ci. '78 E. u. of the region. After giving much time to the

L. Hon. Ohevreuse Valley, which competes with Barbison

for painters' favor, he has developed a devotion for Brittany, where he has now settled. He has Oemay in January (1879) in the Lux- embourg.

Bernier, the pupil of L. Fleury, has exhibited since 1876 about camiito Bornior thirty laudscapos of great merit. In them he

(1823- ), com«r. evinces a sympathy with the poetry of the marshy

L *Hor f * * *"* *'** ^' " ^*®® ^' Brittany rather than with the seen-

ery of his native Alsace. January in Brittany (1872) is now in the Luxembourg.

462 ^ HISTORY OF FRENCH PAINTING.

Hanotean was a pnpil of Oigoax^ and is one of the most skilfal of H*etor H«notM«i ^^ detail-loTing realista He has exhibited

(isas- ), D»ciz«  (NMvra). in all the Salons sinoe 1855, and has become

M«d. 'fi*. '68. '69 : L. Hon. T©. ^^^ ^f ^^0 Kvlng arttsts of the Lnxembonig

by his pictnresy The Village Pond, of 1870, and his Frogs, of 1875. He has occasionally exhibited portraits.

Guillemet is a pupil of Gorot and Ondinot Though his first appearance was in 1872 his picture of 1874, Bercy in December, found

J.an B.ptl.f Antoln. G«l.l.mt * P^^^ ^^ ^^^ LuXOmbourg. Hc illustniteS

(contemporary), oiso. Ycry happily what a pupil of Gorot was ac-

Mod. ad c. '74. 'TC ; L. Hon. 'Bo. customod to say, namely, that that master's

practice was to make his first aim tonality, and when all the tones had fallen into true relations, he considered the picture substantially finished.

Other pupils of Gorot who follow more or less his poetical style are:

Louis Auguste Augain (1834- \ Rochefort, but IItbb at Bordeaox: papQ of Ck)gniet and Gorot; medal 8d class '80; ad class '84; medal at Vienna '73. — ^PieEre Bmmanuel Damoye (contemporary), Paris: pupil of Gorot, Daubignj, and Bonnat; medal 8d class '77; 2d class '84.— Alexandre Defaux (1826- ), Paris: medal 8d class ^74 ; 2d class '76 ; Legion Honor '81, — Clamille H . Delpy (oontemporaiy), Joignj: pupil of Daubignj and Gorot ; medal 8d class '84.— L6ou Flahaut (1881- ), Paris: pupil of L. Fleury and Gorot; medal '69; 2d class '78; Legion of Honor "SI. — Paul Dominique Gourlier (1818-'69), Paris: dose follower of his master Gorot; medal 8d class '41 ; Honorable Mention '55. — Gaspard Jean Lacroiz (1810-'78), Turin: medal 8d class '4St\ 2d dass '48, '48; had ability and skilL— Bugdne Antoine Samuel LavieUle (1820- ), Paris: medal 8d dass '49; medal '64, *70; Legion of Honor '78. — Marie Ghiillaume Gharles Leroux(1814- ), Nantes: medal 8d class '48; 2d class '46. '48, '59; Legion of Honor '59  ; Officer '68.— AIphoD8» Alexis Morlot (contemporary): pupil of Henner as well as of Gorot; med. 8d dass '85.— Jules Masure (contemporary), Bndne: medal '66 ; 2d class '81 ; paints marines. — Francois Nason (1821- ), Bealmont: pupil of Gleyre, bat paints in Oorof 8 style ; medal '64, '66 ; his Banks of the Aveyron in Autunm is in the Lux- embourg.— iimile Louis Vernier (contemporary), Louis-le-8aalonier: also follows the style of Gorot in which he has taken medals in '69, '70.

Nine landscapes were bought by the state from the Salon of 188&. They were by Oartier, P. Oolin^ Desbrosses^ Harpignies^ Isenbarty Leyendecker, Nozal^ Pointelin, and Watelin.

As all artists of the higher forms of landscape haye the same aim, and the differences are those of a personal treatment of the same snb* jectSy indiyidnal descriptions wonld necessarily be of great sameness. The list which follows dassifles them  :

THE NINETEENTH CENTURY. .453

Lonis Hector FnnQois AUemand (1809- ), Lyons: is of the modem realistic school of art, which he learned from nature and the works of the great masters of landscape; Bnysdaei, Hobbima, with a touch of Claude Lorrain. — Auguste Allong6 (1888- \ Paris: his paintings in oil are less famous than his marrellous execution in fuaaiin, — ^Ernest Baillet (contemporary), Brest: pupil of Pelouse; medal 8d class ^88. — Achille Jean BenouTille (1815- ), Paris: pupil of Picot; won Prix de Borne for landscape '46; medal Sddass '44; 1st class '68; Legion of Honor '68.— Auguste Fran<?ois Biaid (180182), Lyons : pupil of Beroil; medal dd class '27, '48; 1st dass '86; Legion of Honor '88; his work coyers a great extent of time and space; he exhibited for oyer fifty years ('81-'82) landscape and genre full of sentiment and humor, drawn from travels extending from Africa and the East to Greenland and Spitzbeigen. — L^n Bellee (contemporary).— Eugene Victor Bourgeois (con- temporary), Paris: medal 8d class '85.— Jacques Alfred Brielman (contemporary), Paris: pupil of Layiellle; medal 8d dass '82.— Alfred Gasile (contemporary), Mar- seilles: medal 8d class '85.— Martin L6once Chabry (died before April, 1888). Bor deaux: medal 8d class '79. — Charles Charlay-Pompon (contemporary), Paris: pupil of Bapin; medal 8d dass '85.— Jean Maxime Claude (1824- ), Paris: pupil of Galland; medal '66, '69; 2d class '72.— Charles fimile Dameron (contemporary), Paris: pupil of Pelouse; medal 8dchi8s '78; 2dclas8'82; Philadelphia '76.— £mile Dardoize (contemporary), Paris: medal 8d class '82. — ^^ouard Van Dargent (1825- ), St (^errais, Finisterre: Legion of Honor '77. — Adrian Louis Demont (contemporary), Douai: pupil and follower of £). Breton.— Lten Victor Dupr6 (1816- ), Limoges: brother and pupil of Jules ]>upr^; medal 8d class '49; PhUa- ddphia '76. — ^Alexis Dalig6 de Fontenay: medal 8d class '41; 2d class '44; rappd '61, '68.— Begis Gignoux (1816-'82), Lyons; pupil of Lyons Acad., iSlcole des Beaux-Arts, and Delaroche.— Andre Geroux (1801- ), Paris: Prix de Bome '25; medal 2d chiss '22; 1st class '81 ; Legion of Honor '87; exhibited as late as 1874.— Charles Gk)6selin (1884- ), Paris: pupil of Gleyre and Busson; has caught the charm that lies in the realistic ; medal '65, '70 ; 2d dass '74 ; Legion of Honor '78. — Engdne Grandsire (1825- ), Orleans: Legion of Honor 74; has Canal at Tr^port (1881) in Luxembourg. — Jacques Guiaud (1811-'79), Chambdry: pupil of Watdet and Cogniet; medal 8d class '48; 2d class '46. — Gaston Chiignard, (contemporary), Bordeaux  : medal 8d chiss '84.— Adolphe IrSnee Guillen (1829- ),Paris  : pupil of Ko61 and Gleyre; medal '67; 2d dass '80. —Alfred Guillou (contemporary), Concar- neau: medal 8d class '77; 2d class '81.— Ernest Victor Hareux (1847- ),Paris:pupil of Busson, Pdouse, Bin, Trottin, and Leyasseur; med. 8d dass '80; 2d class '85. — Frederick Henriet (1826- ), Chtteau-Thierry: Secretary to Count Nieuwerkerke, also author of The Landscapist in the Fidds (1866); Chintreul's Life and Works (1874); Daubigny and his Engrayings (1875).— Lion Herpin (1841-'80), Granyille, Normandy ; medal 8d dass '75 ; 2d class '76 ; pupil of Daubigny, J. Andre and Bus- son,— Louis Godefroy Jadin (1805-'82), Paris: medal 8d dass '84; 2d chiss '40; Ist class '48; 8d class '55 E. IT. ; Legion of Honor '54.— Louis Aim6 Japy (contempo- rary), Berne, Doubs: medal '70 ; 8d cla8s'78; pupil of Fran<^s. — Pierre Alexandre Jeannoit (1826- ), Champlitte, Director of School of Fine Arts at Dijon.— Pierre Gorges Jeannoit (contemporary) : son of preceding ; medal 8d dass '84.— Boger Joseph Jourdain (1845- ), Louyiers: medal 8d dass '79; 2d class '81; also paints genre. —Fdix Hippolyte Lanoue (1812-'72), Versailles: Prix de Bomo '41 ; med. 8d dass '47, '61 ; Legion of Honor '64; from a pupil of Bertin he became

454 -A HISTORY OF FRENCH PAINTING.

later a landacapist of the nataimlistio schooL— Louis ^mile Lapiene (1817-^86)^ Paris; medal 8d olaas '48. '68; Legion of Honor '89; papil of Beitin, — Emmainid Lans7er(]886- X ^^^ ^^ Bouin: pupil of Conibet, Yiollet-le'duc. and Harpignies: medal '65, '69; 8d class '72> ; Legion of Honor '81; gives in fine drawing and cliann- ing color views of the neighborhood of Bordeaux and of Brittany. — Chsries Lapost- olet (1834- ). Velars: pupil of Cpgniet: medal '70; 2d class '82; works in broad treatment of fine and pleasing effect. — Edmond Lebel (1834- ), Amiens: medal '72; A Vow at Ban Germane (1872) m the Luxembourg; pupfl of Ooguiet. — ^Victor Leclaire (188(>-'85X Paris: medal 8d class '79; 2d class '81.— Charles Joeeph Leoointe (1824- ), Paris: Prix de Rome '49; medftl 8d class '44, '55. '61 ; has The Barren Fig Tree (1855) in the Luxembourg. — ^The self-taught Adolphe Lelenx (1812- ), Paris: medal 8d class '42; 2d class '43, '48; Legion of Honor '66; paints a few Algerian and Spanish scenes with numy of Brittany ; his Wedding in Brittany is in the Lozembonig. — Gustavo Mainoent (contemporary), Paris: pupil of Pils and Cabaason; medal 8d class '88.— Adolphe Gharles Marais (contempmmiy) Honfleur: pupil of Busson, Berch^ and Gter de Oock: medal 8d daas '80.— Francis Amile Bliohel (contemporary), Mets: pupil of MarMial and Migette; medal HIS ; has Autumn Sowing (1879) in the Luxembouig. — FxM6ric Montenazd (coo- tempovary) Paris: pupil of Dubufe, Maserolle, Delaunay, and Puvis de Chavannest medal 8d cbss "SS.— Alfred Mouillon (1882-'86), Paris: pupU of Delestre; medal 8d class 'SO.— Victor Navalet( -'86), (Thftlons-sur-Mame: pupil of his father; medal '67. — Alexandre Nozal (contemporary), Paris: pupil of Luminais; medal 8d class "82; 2d class '88. — ^Maroelle Ordinaire (contemporary), Maisidres  : pupil of Gourbet and Franqus  ; medal 8d class79. — CamilleAdrien Paris (contemporary), Paris: pupil of A. Scheffer and Picot; medal 8d class 74.— Laurent Joseph Pel- letier (1818- ), ISclaron: medal 8d class '41; 2d dass *46; in 1865 was appointed Professor of Drawing in School of Metz. — ^Edmond PetltJean (contemporary), Neuf- chftteau  : medal 8d class ^84 ; 2d dass '85.— Augusts Pointelin (1889- \ Aibois: medal 8d class '78; 2d class 'SI ; Legion of Honor '86. — ^Paul Emmanuel P^raire (contemporary), Bordeaux: pupil of Isabey and Luminais: medal 8d class "SO. — Alexandre Rapin (contemporary), Noroy-le-Bouzg: pupil of Fran^ais, Gdr6me» Gleyre, and Lanor^non; medal 8d class '75; 2d class '77; Legion of Honor '84. — AmM6e Rosier (1831- ), Meaux: pupil of Gogniet; medal 8d class '76.— &nile Benard (contemporary), Sdvres: pupil of C!abanel and C6sar de Cock; medal 8d class '78.— Arsdne Bivey (contemporary), Caen: pupil of Picot, Couture, and Bon- nat; medal Sd class "SO. — ^Henri Sainthi (contemporary), (1846- \ Paris: pupil of Pils, Sainte-Maroel, S6g6, and Ck>intepoin; medal 8d class '82. — ^Hippolyte Victor yalentinSebron(1801-'79),Caudebec: pupil of Cogniet, and earlier a pupil and assist- ant for sixteen years of Daguerre; medal 8d class '88; 2d class '40; 1st class '44; 2d class '48; Legion of Honor '67; views in France, Spain, Belgium, Germany, Italy and United States, as Niagara; Broadway, New York ; etc., illustrate his panoramic work.— Joeeph Francois D^sirS Thierry (1812-'66), Paris: pupil of Gros; became later a decorator, medal 8d class '44 ; Legion of Honor '64. — £Uenne Adolphe VioUet-le-duc (1817-'78), Paris : pupil of L6on Fleury and Fran^ais ; medal 8d class '52, '61, '70.— Louis Victor Watelin (contemporary), Paris : pupil of Dias; medal 3d class 76.— Edmond Yarz (contemporary), Toulouse : medal 8d dass '84w— Jean Henri Zuber (1844- ), Rixheim (Alsace) : pupil of Gleyre; medal 8d dasB ^75; 2dchiss'87; Legion of Honor '86.

TEJB NINETEENTH CENTURY. 455

Among painters of landBcape of great promifie who, having reoeived a third class medal recently, are en route for Hors Concoors :

Lament Gonial (oontempoiary), Yienna: medal 8d class '87. — Marie Ferdinand Jaoomin (oontemporary), Paris: son and pupil of J. M. Jaooinin (1780-1868) ; medal 8d class '88. — Maurice LelidTTe (contemporary): pupil of Dubofe, MazeroUe, Har- pignies, and J. P. Laurens; medal 8d class '86. — Paul Sain (contemporary) Avig- non : pupil of G^rdme ; medal 8d class '86.

Marine painting in France has been practised by few artists of great qualities. The son of the famous miniature painter, J. B. Isabey (1767-1855), adopted marines after abandoning genre, and has stood at the head of marine painting in France for nearly a century, but he achieved his official honors almost entirely during the second period*

He was the royal marine painter of the ezpe- (i8o4-'86). Paris. ditiou to Algicrs m 1830, and at his death,

M«d. itt ci. '14. '17 ; L. Hon. '3^. 1886, Still stood first among painters of ma-

M«d. irtcl. '55; Of. L. Hon. 'sa. . „• • i. x ^ m 1 ^i.

nnes. His sixty-two years' of work, after receiving a first class medal in 1824, left representative works at the museums of fifteen of the cities of France ; those at the Luxem- bourg being The Embarkation of De Bnyter and De Watt (1850) and The Roadstead at St. Malo. Th6ophile Gkiutier summarizes his qualities thus  :

• • He has a warm color, a sparkUng ftudlity ... his smallest eketch, his

roughest design, reveals tbe troe artist and has no need of a name to be recognized; every brash stroke is a signature. . . . He is original and creates a microcosm of all his pieces in which be displays his talent. Isabey takes the first moit^fii at hand  ; a stile, a stone, a yawl, painted by him has a spiritual air: his rapid and nervous toach has the certainty of dash of a sweeping hand."

Oudin early threw off the influence of Girodet, who was his first master and the earnestness of his nature led him to become an impet- uous romanticist. Under this impulse, his early landscapes and -^ . , * , . ^ .. marines became revelations of his high gifts

Thtodor* J«an Antoin* Guam ^ ^

(isoa-'so), Paris. as a colorist and of his power of rapid touch.

M«d. ad ci. '24; '«t ci. '48, '55. g^t a conveutioual and factitious manner of

L. Hon. '28; Of. '41; Com. '55. - ««/v . ^^.j/v

great monotony ensued. From 1830 to 1840 he exhibited a large number of works, besides eighty undertaken for Yersailles  ; but under a feeling of indisputable superiority induced by his successes and the special favor of Louis Philippe, he disdained all criticism or counsel, and the greater part of his works at Yersailles are pronoanced caricatures of genre, and caricatures, moreover, of colos- sal proportions. For earlier works he obtained a medal at twenty- two and a decoration at twenty-eight years of age, and through iha

466 A HISTORY OF FRENCH PAINTING.

prestige of being made marine painter to the Courts of Lonis Philippe and Napoleon III., has maintained an honored position daring the third art-period of this century. Besides his commissions for Yer- sailles, he was appointed by the Emperor to paint for his gallery in 1862, The Arriyal of Queen Victoria at Cherbourg. While at the height of his reputation he married a daughter of Lord Hay of Soot- land and thus entered a circle of distinguished relatives.

The early marine painters are  :

Auguste J. M. Jugelet (1805-74) Brest: pnpil of Gndin  ; medal 8d oIasb '96  ; Legion of Honor '47: has been distmguished in both the second and third periods of this oentury. — Charles Ixmis Moan (1806-62), Paris: pupil of Leprinoe; medal dddass'Sl; 1st class '87.

Others are :

Pierre Alfred fiellet da Poisat (1838- ), Boagoin: pupil of DrOlling andFUn- diin and fioole des Beaux- Arts (1845), following the Dutch style of marine pa-inting and landscape ; he earlier painted in the style of Delacroix.— Hubert Eogdne B^nard (1884- ), Boulogne-sur-Mer: pupil of daudins Jacquand; bronze medal, Booen, 18Q0._Pierre ifimile Berthelemy (1818- ), fiouen: pupil of Rouen Art School and at Paris of Cogniet and &)ole des Beaux- Arts; painted naval battles, but sinoe 184B; chiefly more quiet marine scenes. — ^Eugdne Berthelon (contemporary), Paris: pupil of E. Lavieille and Beme-Belleoour  ; medal 3d class *86. — ^Eugtoe Boudin, "^ poetof the sea," the impressionist (contemporary), Honflenr: medal 8d gIbbb'SI; 2d class '88. — BCaurice Ckmrant (1847- ), Havre  : pupil of Meissonier ; medal '70 ; painted landscape also. — ^Vincent Joseph Frangois Gourdouan (1810- ), Toulon  : pupil of Paulin Gu^rin ; medal 8d class '48, '44; 2d class '47  ; Legion of Honor '52. — Augoste Delacroix (1809- ), Boulogne-sur-Mer: through paralysis of his right hand, he painted the wortcs of his last years with his left hand. — Jean B. Durand-Brager (l814-'79), Dol: pupil of Chidin and E. Isabey; medal dd dass '44 ; Legion of Honor '44 ; Oflioer '66 ; he took part in many expeditions of (Government; was with the fleet that removed the body of Napoleon from St Helena in 1840; with the expeditions to Tangiers, Mogador, Madagascar, and the Crimea; accompenied Louis Napoleon to Algiers as his urtist. and was artist the same year in the service of thecombined French and English fleet at Cherbourg. — ^Marie Blameng (1848- \ Metz, Lorraine  : pupil of Dubufe, MazeroUe, E. Delaunay, and P. de Ghavannes: medal 8d class '81; also paints landscape. — Frederick Montenard (contemporary)^ Paris: medal 2d class '88 : a pupil of Vollon who has caught the secret of his master's rich color. —Jean Baptiste Olive (contemporary), Marseilles  : pupO of YoUon  ; medal 8d dass '85 ; 2d class '86.— ^mOe Renouf a845- ), Pans: puiMl of Boulanger, Lefebvre, and Garolus-Duran ; medal 2d class '80 at Munich, 1st class '88  : comprises in his scope landscape, marine, and genre ; sometimes all three in a single picture ; his Helping Hand is a charming piece of marine genre, in which the rough straggle of the heavy yawl and the sturdy hand of the boatman on the heavy oar enhance the puniness of the hand of the child, who is smilingly complacent at the thought, in which the father indulges her, that she is helping

THS NINETEENTH CENTURY. 457

him in sending the boat 0T«r waves that are raising its bow high above their heads ; views near Honfleor represented him in the Salons of '70, '73, '78, '75 and '77.

PAUTTEBS OF BTUX LIFB.

Still life is seen in great abnndanoe at eyery Salon. It does not, it is true, demand the highest spiritual traits in the artists, bat it requires a sense of color and a sense of quality, and in the perfec- tion reached in it by such different painters as Desgoffe and YoUon, becomes, in reality, high art.

Desgoffe, a pupil of Flandrin and the nephew of A. Desgoffe, the landscape painter, makes precious copies of precious things. '^ Unlike Biait* o«agoff«  thc marYellouB painting by the Dutch masters of kettles, M*d*"dci '•el'* '^^^ barrels and bottles, his subjects are the priceless M«d! ad ci. '63. onyxes, enamels, porcelains, crystals, rare and ancient L. Hon. '78. stuffs, aud jcwcls of the Louvre artistically grouped and

copied with a finish of detail, beyond which finish can go no further. He has produced effects of great elegance, has, as it were, '^ added a perfume to the violet,*' or, more literally, '* gilded refined gold.** By patient, careful, sincere study and imitation, he has mastered all ex- cellences of exact reproduction, chiefiy those of techniqua Thus, in rough surfaces, instead of reproducing that roughness by a texture of paint, he represents the texture in the object by a scheme of light and shade, such as is seen in photography. The refiection of an unseen window on the facets of a rock crystal, he paints not by a dash of white, but by a patient and truly Dutch reproduction of the panes of glass on the curving surface. ^' Desgoffe is the most skilful imitator of near objects aliye," says Hamerton, and he confines himself to this class of work. He has two pictures in the Luxembourg and many in America.

But Desgoffe does not go beyond exact imitation, while YoUon, a pupil of Bibot, in treating, with somewhat of the feeling of Ohardin, the more homely objects of still life, has not only come more closely to the hearts of his public, but his public is the public of connoisseurs who care not for any tricks of "trompe ToBil," but for art Though a

distinguished painter, moreover, of landscape, marine, obIjI"*)! Lyo"n«. g^^^y aud fiowcrs, his impressiye still life serves as a M«d. '65, '68, '69. distinctive mark of his talent, as its other forms are a L *Ho'r '"io '^of '78. ™^^ common possession. In his Pish of the Sea, of

1870, two common fish are made by his appreciative touch worthy of enshrinement in the Luxembourg. Self-taught, but under the spur of native pictorial insight and susceptibility to historic

458 ^ HISTORY OF FRENCH PAINTING.

asBooiation, his first works sent him to Paris, while yet in his teens. In one of his earliest exhibitions, in which he, nnknown and nerrons, was watching for the effect his A Bunch of Grapes would produce, to his despair he heard the artist, Philippe Bousseau, exclaim, '^ Ah  ! those grapes make me ilL" He was reassured when Bousseau added, '^I could not paint them to save my life. There, though once, at first, rejected at the Salon, he has won many honors, par la force de la YoUon-t£" a punning confrdre says in allusion to his perseTer- ance, and is represented at the Luxembourg also by CuriositieB (1863), and The Helmet of Henry 11. (1878). Other works are The Kettle (1872) ; Kitchen Interior (1864); Pot au Feu (1863); and his Fisher Oirl by the Sea is one of his gems. He now is often elected to the Salon forty." His Port de la Joliette (1887) should, it was maintained by such critics as Paul Leroi, haye won the Grand Medal of Honor. It was a calm expanse of sea, full of air and light and also of sentiment Yollon is rery far from being an imitator, but inyests his subjects, eyen of still life, with eyery pictorial suggestion, ambient air, rich and luscious color, and yiyid expression. In a word, he does not copy, he expresses himself, and his still life subjects, from their air and light, haye been called interior land- scapes. " His Salon picture of 1888 was The Farm Yard, and in it his rendering had not lost the suggestions with which it eleyates to high charm such humble themes as eyen a pile of refusa His son, Alexis, won at his d6but, at only twenty years of age. Honorable Mention at the Salon of 1885, by a portodt of his sister. He is a close student of nature.

Other painters of still life are :

Joseph Bail (oontemporary)), Limonest: pupil of J. A. Bail; medal 8d dasB 'SS, and a worthy follower of VoUon. — Dominique Rosier (oontempoiary), Paris: piqal of A. VoUon; medal Sd class '76; 2d olaas '80; his piotoxe of that year. The End of Supper, was bought by the State. — Charles Armand Thomas (contempofai^ Paris: pupil of LecLure; medal 8d class '86.

Painters of fruits and flowers are  :

MUe. Henriette de Longchamp (oontempoiary), Saint-Disier: medal 8d dssB '47; )M class '48. — Joanny Marsiat (18d4- ), Lyons: pupil of Henrioh Lehmsnn; medals '64, '67 ; 2d class 72. — Frangois Martin (oontemporaTj), Paris: medal Sd class '81. — Madame Euph^mie Maraton, fUe Dohanot (contemporary), Beaugency: medal 8d class '80. — Ernest Quoet (contemporary), Avillon : medal 8d class '80; 2d class '82; the picture of that year, The l)ew Season, was acquired for the Luzso- bourg.— -Jean Begnier (1815-'86), Lyons: pupil of Lyons School of Ait; medal 8d

• ■ Pierre d'Igny in Art and Letters, June, 1888.

THE NINETEENTH CENTURY. 459

Glass '48; rappd '61; Legion of Honor, '68.— Simon SainWean (180&-'60), Lyons  ; pupil of Art Sohool at Lyons and of Thierriat : medal 8d class '84; 2d class '41, '55: Legion of Honor '43; is called the modern Van Huysem.

Augoste Mathien (1810-'64)^ Paris  : medal M class '42  ; Legion oi Honor '59^ took his high rank as a painter of architecture.

THE IXPBE8SI0NI8IS.

Still another world of art has arisen ont of the common origin of the nineteenth century's special forms of aasthetic expression, namely, the close study of nature and external phenomena. Only receutiy so recognized^ impressionism is a legitimate deyelopment, closely related with that signal one of 1830, though for a long time regarded but as a meteor destined to go out with a flash. For a time it was, indeed, nebulous, unformed, and indefinita This new world of art has been created from broader views of the actual ; from motifs how- ever humble deriving value from quality of tones if rendered in a sin- cere interpretation, tones fully and frankly given in open air ; it is, indeed, a world of new relations to the sun and atmosphere : they freely stream into it over all barriers, which are, however, chiefly those of tradition and convention. From year to year it has assumed more and more precision of movement, until now its orbit and its direction are recognized as established.' In its highest forms, this latest prod- uct of the feeling for external phenomena initiated by the men of 1830," is accepted, and the names of many of its artists are continu- ally seen among those elected judges of art, the jury of the Salon. But while this recognition has been accorded by force of the vast amount of talent working in this field, and while the great influence the movement has had is undeniable, the end, the ultimate result, the final estimate to be placed upon an art still savoring of eccen- tricity, is yet a question. It is not an art of thought or dreams ; it disdains the imagination, though often its perception of the harmonies of realities is most delicate and moving. Is the result to be that sentiment and fancy shall be crowded from art, except the fancy inherent in luminous impression? Or in their own line is it to be demonstrated that, in art, man is but a patch of color with out- lines melting into air  ? The Salon of 1887 showed the disarray of forces at ifcs height, and, while it did not present great achievement

1 " Ab to the painters, whateyer their class, specialists or not, behold them sU or nearly all captlyated by this current of open air and of light."— Georges Lafenestre ; Beyne des Denz Mondes, June, 18S7.

460 ^ HISTORY OF FRENCH PAINTING.

ia master-works, showed the nature, tendencies, and great vitality of the moyement in its present stage, which is that of a subtle analysis of luminous phenomena. A history of struggle for its initiators and leaders had preceded this and, in the individuality its sincerity of interpretation allows, its yaried practice has a yaried yalue. The claim of its followers to reproduce exactly what is seen at the moment of sight — ^the fugitiye aspect of things — and therefore to present a true realism, takes importance in their further claim, that painting this aspect of objects supplies the sensation that forms the basis of, and is necessary to just that emotion which nature and actuality produce. Thus it limits painting to its true proyince, picturesque appearance, and excludes that in which it recounts, romances, disserts, or dissects. Its practice differing much in different artists, but in all haying the common merit of luminous harmony, giyes the color in patch C' tache ") against the horizon with little definiteness of outline, little or no relief, and, by many of the artists, no cognizance is taken of what four centuries ago was considered so great an achieyement in the progress of art — ^perspectiye.

Perspectiye is the great difficulty of their strong lights, and model- ling can hardly be effected without gradations of shade. It is, indeed, a difficult problem with which they struggle, for unyielding Science does not supply to artists the colors of nature. Implacable, she imprisons them within limits, affording them neither nature's height of lights nor nature's depth of shadows. This reduced scale, this lowered key, renders absolute reality of colors impossible to paint- ing. But it softens harshnesses and sharp brilliancies, and leaves the essential expression, the reality of impression, still attainable. Struggling for this in a higher degree, perhaps, than these manacles of science will allow, many of these artists show all the qualities required for true art. In rendering their subjects, they are both moved and moving, impressed and impressing^ and have a knowledge of the laws of color, of even its contrasts, complements, and irradia- tions, and, under a sky dulled by cloud or fog, often produce unques- tioned effects. But colors in full sunlight are baffling to them. They see and reproduce blues and violets in the shadows, and in many of their landscapes light blue and purple become the predominating hue; but it is true that at the requisite distance all falls into place, the blues become mist or simply distance, the pinks, light tinged by some refracting medium, and all is, indeed, a pleasing landscape.

They have been greatly influenced by the methods of color of Japanese art Their advocate, Th6odore Duret, says  :

TEE NmETEENTH CENTURY. 461

" Before the aniTal among us of 'the Japanese picture-books, there was no one in France who dared . . . put side hf side on his canyas a roof frankly red, a white-washed wall, a green poplar, a yellow road, and bine water. The painter told nothing but lies. Nature with its fresh hues put out his eyes . . . and we saw on his canyas only faded colors drowned in a general half tone. . . . The impressionist paints without hesitation upon his canvas water which has this, that, or the other hue. The sky is OTercast, ... he paints water that is milky, heavy, opaque  ; the sky is clear, he paints the water sparkling, silvery, with an azure sheen. The wind is stirring, he paints the reflections broken by the ripples. The sun goes down and darts its rays along the water, the impressionist . . . dashes upon his canvas yellow and red. . . . The winter comes ... the impressionist perceives that in the sunlight the shadows thrown upon the snow are blue, without hesitation he paints blue shadows. . . . Certain clayey soils in the country take on a lilac tone, the impressionist paints lilac land- scapes. Under a summer sun in the shade of green leafage, the skin and clothes take a violet tint, the impressionist paints violet people in the woods. Then the public lose all self-control and the critics shake their fists. . . . They do not take the pains to see if what they see painted corresponds or not to what the painter has really seen in nature. . . . The impressionist's work does not look like the work of the painters that went before him. . . . Therefore it is bad." '

The etrangest effects are seen in their figares and portraits, in the sacrifice of form, which color giyen in '^ patch involves. After the discontinnance in 1874 of the Salon for Bejected Pictures, they, on account of the alleged illiberality of the jury of the Salons, organized exhibitions of their own (1877). They announced these under the names. Impressionists, Independents, and Intransigeants (1879), but the more truly descriptiye one, the first, still clings to them. These exhibitions were continued until 1882, when dissensions destroyed further organization. They were for some time the butt of derision, the objects of caricature in the comic journals and at the theatres. Their work seemed the most unreal of realisms, and to the unaccus- tomed eye, what were called accords seemed most discordant. The failure to perceiye any true art in the moTement was aided by the extremes adopted by some in accentuating the most extravagant forms of the new &ith and exaggerating its already strange effects. The fact that they accept a synthesis of effects, the modifications of each tone by its connection with all, as more mature results now indicate, goes far towards proving the derision and rejection of their work to be but a reSnacting of the fealty to tradition and habit of eye, of the illiberality that crushed Bousseau and Millet in their early works and left Oorot unappreciated. The impressionists claimed this, and

1 Introduction to Catalogue of Works of the ImpresBlonists of Paris, New York. 1»6.

463 A HISTORY OF FRENCH FAINTING.

asked only for time to prove the merit of their art. They urged, what was the fact, that it was a farther eyolation of the naturalism for many years being wrought ont in the French School ; that Corot and Oonrbet were their real ancestry ; and that their art was only, as was due from posterity, an advanced attainment in the same line. The result which as yet, it must be admitted even by their partisans, shows tendencies rather than completed achievement, has nevertheless in- fluenced the color of the entire French School, has broadened the artists' views of the actual, and by protesting against hard outlines, which certainly do not exist in nature (howeyer yaluable they may be in that correspondence" to nature which art is), but masses instead, they have unquestionably developed the present study of values, that is, the relative intensity of light or dark that colors possess inde- pendently of their hues.

In their personal interpretation Pissaro has a tendency to see blue everywhere, Gaillebotte ignores conventional perspective, Claude Monet, with an abnormal eye for complementary tints, paints delicate symphonies in violets, Gervex plays with color and makes light serve him with a seductive charm, and Besnard gives originality and feeling to historic works, as shown in his decoration for the Hall of Marriages of the Second Arrondissement of Paris. For this in 1887 he con- cluded a history of marriage by The Evening of Life, in which an aged couple sit upon the steps of their home and, reflectively drawing together, look out upon an evening sky, but one full of stars. Some paint, without any details, the impression in the simple values of the large masses, in substantiation of the claim that that is all that one sees. However this, in a varying degree in different artists, requires also a detailed flnish in parts that fall directly under the eye, as is illustrated in Dnez's Around the Lamp, which represents a young man and his wife playing chess, while the mother-in-law sits by knitting ; the man's face, resting on his hand as he contemplates a move, is in full light and is of a highly detailed finish, while the wife, seen in profile against the light, in shadow, is very sketchily treated. Another form is that of a peculiar truncated composition, that is, a fragment of an object or objects placed in the foreground. This has the aim of concentrating attention on some special detail and emphasizing the artist's intention, as in Degas's pictures of baUet girls, of whom some- times only a truncated portion is presented, cut off by the falling curtain. But in it is centred a graceful rhythm of motion, and thus is assured to the spectators that special delight of the impressionists, the momentary, incidental  ?few.

THS NINETEENTH CENTURY. 468

ImpressioiiiBm is an elastic tenn so iar as it is to be applied to a 80-caIled school." Bigidly applied it is misleading. There are, it may be said, two kinds of impressionists. Henry Hoossaye said in 1882  : Impressionism receiyes every form of sarcasm when it takes the names Manet, Monet, Benoir, OaiUebotte, Degas ; every honor when it is called Bastien-Lepage, Dnez, Oerrex, Bompard, Dantan, Ooenentte, Bntin, Mangeant, Jean B6raad, or Dagnan-Bouveret" There is canse for this different estimate. The latter painters have a nicety of finish, a delicacy of treatment wholly unknown to the former, which they carry ont tinder the impressionists' doctrine of light and color. Others are: Pissarro, Sidey, Engtoe Yidall, Baffaelli, Fondn, Gauguin, Bouart, Yignon, Zandomeneglai, Boudin, Desboutins, Auguste Flameng, M61in, Hnguet, D. Lang6e, Armand Dumaresq, Fleury-Ohenu, Boll, Henry Ohenn, Besnard, Fautin, Montenard, Gmllanmin, Serret, Signac, Benassit, Seurat, Morizot, Lepine and John Lewis Brown, a Frenchman, but of English name,^ representing various degrees of the special practice, from pictures that, for lack of perspective, are without form, being apparently the spectrum's hues in every combination thrown together at hazard, to those simply brightened by very luminous tones. Every class of subjects is treated, landscape, out-door genre, history, and portrait. Many names of note, it may be seen, grace the list.

Bastien-Lepage is the " glorious master," but Manet was the pre- cursor of this movement : he bore the odium of its initiation ; his ^ Man«t '^^<>^^™ *ro reaping the advantages of the riper views (i833-'83). Paris, of both thc public iu judgiug and the artists in practis- M«d. add. 'Bi. jj^g ^^ inuovation. But this arch innovator first drew

breath under the very eaves of what was then (1833) the rigid sanctuary of academical art, the ]6cole des Beaux-Arts, against whose teachings he was to have a life-long struggle, and during which be was to be pursued so nearly to the death as fco be well-nigh excluded, after previous admissions, from the last Salon of his life, that of 1883. After making, at the age of seventeen, a voyage to Bio Jan- eiro as a sailor, to which he was forced by the determination of his family to secure him to commercial pursuits, but in studies of which he has left many indications of his artistic tendencies, he travelled in Germany and Italy. He was fascinated with Venice, whose art was, however, but a shade dearer to him than that of Spain as he then

> Pictures by tlie last twenty-one, togetlier witli others by Manet, Renoir, Degas, Oafllebotte, and Pissaro, were exhibited as works of The Impressionists of Paris la New Tork, April, 188S.

464 A HISTORY OF FRENCH FAJNTZNG.

saw it at the Lonvie. He Btadied with Goatnre six years (1851-57). Bat masters had little influence upon the young man, who, from the first, discarded all tradition and made his view of nature his sole guida The result was as expressed by Duret in announcing the exhibition of impressionists' works in 1886 in New York  : '^ It may be said without exaggeration that criticism has gathered together all the insults it has emptied on his predecessors for the last fifty years to throw them in a heap on the deyoted head of this artist." But having a private income which guaranteed him against risk of starvation, he coura- geously persisted in his convictions, adopted the motto based upon his name ^^ Manet et manebit/' ' and still advocated and practised paint- ing what the moment of vision saw in nature, uninfluenced by tradi- tions or by what mere habit of eye had taught. This momentary vision could take in but a portion of a scene, the rest was reproduced in the confusion of indirect vision. All his excellences and defects are due to this fundamental aim, to paint the exact vision of the moment He pursued it through partial failures, and succeeded — ^in pointing out a way to others. Fascinated with a clue which he undoubtedly grasped, observation in itself became the aim of his study, and subject was of value only as it afforded opportunities of observation, chiefly in a luminous arrangement of patches. His first sketches were always of great power, but he seemed so to delight in the first impression, that he desired to go no further ; he was so susceptible to sensation that its repetition wearied, especially as all opportunity for observa- tion in that special case was then exhausted. Being refused at the regular exhibitions, he appeared in the Salon of the Rejected while it continued, and in 1867, being excluded from the Universal Exposi- tion, exhibited his works by themselves, as Gourbet, who strangely looked askance at the new art, also did the same year. Both his merit and the public estimate of it grew until in 1881 the jurors of the Salon (some of them, it is true, younger painters who had been under his influence, as (Jervex, Boll, Dues, Butin), voted him a medal, and termed it a M^daille de Reparation for twenty years of effort" Bravely as he had borne abuse and condemnation, he had been somewhat depressed by the accumulation of unsold pictures in his studio, and now derived great satisfaction from this mark of extraneous approval Further acquaintance on the part of the public had then idso established that he was not a merely sensational painter, but one of sincere convictions, and that he had, also, the culture of a man fond of and esteemed by society. Manet always divided the critics

1 It is here, and will remain

THE NJNSTEENTH CENTURY. 466

into friends and enemies — ^none remained indifferent ; when his name was now called for the distribution of the awards^ the applause of his friends led to the hissing of his enemies. In 1882 he was also deco- rated by his early comrade in the studio of Oouture, Antonin Proust, who was now the Minister of Fine Arts, and now, too, Ohesneau was found making the claim  :

Manet has a rare power of just Tision of ol^ects; in their coloring, their Imninons Tibration, their appearanoe, undnlatiDg, fogitive, passing. Far from rendermg his forms motionless, be seises them in all their mobility, and leaves an impression of movement in his pictures, not more arrested than is that of actual movement."

He accomplished this expression of moyement, of life, which, with luminousness of tone, constituted his personal achievement for art, as Millet did that of sound in his Angelus, by his truth to detailed realities, the close following of the indications of movement, and by a simplification of his subject. In this he made constant progress. He had early won supporters and partisans. Delacroix recognized his power, and his sincerity won him friends among men of letters. As early as 1861 Gautier saw in his Guitar Player '^much talent, a valiant brush, and truth of color. Zola was his earnest admirer, and pro- nounced a eulogy upon him at his funeral. After his death there was accorded to him what, in his early artistic career, would have seemed beyond possibility, an exhibition of his works in the Palais des Beaux- Arts. It illustrated the entire growth of his art from his attempts under Couture, through a period when he was influenced by Velasquez, then, as he pursued simplification of subject, to finally his works of '^plein air" following 1866. It numbered 120 canvases, 22 etchings^ 31 pastels and some aquarelles, and so much had he won the adhesion of the public to his principles, that his work commanded high appre- ciation and in very many instances even extreme admiration. He had become an important infiuence in the history of art, but its effect in relation to his own accomplishment is well described by Honor6 Dau-^ mier, in saying : Manet has rendered distasteful to me the compli- cated painting of the schools, without winning me to love his own : '^ he had demonstrated principles now more or less accepted, as concerns light, by all the younger painters, but had not perfected results.

His Bace Course will illustrate the practice of the school in partial finish:

The horses, in their full speed, have every sinew strained, their limbs stretohed forth in lines oontinuing horizontally those of their bodies, the minutest detail of qpeed is reproduoed^ as well as a high finish given to every portion of their stmo*

80

466 A HISTORY OF FRENCH PAINTING.

tare. This part of the picture is made, as in the aotoal, the point upon whidi tiia eye is suppoeed to fall All else, even the grand stand of spectatozs, is men dashes of paint of varions oolors; no faces, no forms.

A Dead Man (1864), which is the matador of his picture The Boll Fight, much criticised and finally destroyed, together with the Child with a Sword ; a portrait of Adolphe Belot, called ^* Bon Bock," from the foaming glass upon the table ; The Spanish Ballet ; and the Guitarist (1861), are all of great charm of luminousness. Some of his most remarkable pictures are an Olympia (1865), a young woman in flat white, with a oat in flat black at her feet, a contrast quite frequent with him, and a Nana which, though of a grace and elegance unusual with him, was excluded from the Salon of 1877, as being also of great indelicacy.

Monet has been less extreme in the adoption of the peculiarities of the impressionists than those associated with him in this dassifica- tion. Benoir's figures of portraits or &ncy are in fiat tints, entirely without relief, all of the same tone. Monef a use of complementary tints is often exaggerated. With his fine artistic powers, his pictures yary. Under a subdued light they show great excellences, as his Views at Bouen  ; Scenes in Holland  ; and Low Tide ; and justify the admiration felt for him by a small band of amateurs. It is bright skies that give him trouble, though these, at distance, ^'at the requisite point," as he would say, take a semblance to a far-off scene yiewed from a window or the impressions of passing trayel. Gaillebotte and Degas only out-Monet Monet, and in presence of their pictures one is saddened; feels a desolation as if by some uncanny infiuence set back in ciyilization into an unsympathetic world, amid the tentatiye efforts of Byzantine art, with figures that haye not yet learned their relations to the hills and trees; and has an urgent desire to look upon Bous- seau's landscapes with genuine green foliage and long ranges of dis- tance, instinctiyely reechoes the exclamation of Paolo TJccello under the &scination of its early practice, *^ How sweet a thing is perspeotiye "I

But Bastien-Lepage, respiring with his infantile breath that sen- timent from nature which was yielded eyen in increasing measore to his maturing penetration of her truths, and whose in&ntile hand was trained by paternal affection, solicitous that he might be equipped

to obtain position under the administration, to (i848-'84). D4mvii>«rt. au exactncss of reproduction, a ^'probity" of

M«d. 3dci. •74;adci.'75. representation, won not only approyal, but

3dcl.'78E.U.; L. Hon. '79. ^ i. j xi. J ^ ^ ix. vi- t. xu • 1

touched the heart of the pubuc, by the simple, earnest pictures which, full of the poetry of common things, were

THE NINETEENTH CENTURY. 467

afforded by both his brush and his life. ^'Soyez podtes/' wrote Bonlangerin his brochure ^^k mes gUyes'^ in 1885, opposing '^this modem tendency '^ based on ynlgarity/' an emanation of the boar- geoismind, << a personal treatment/' ^'withont precedent in history. But in practising it, Bastlen-Lepage culled from nature the most delicate flowers of poetry in their most fragrant bloom. Poetic suggestion with Tigorous reality forms the foundation of his work. Most of the accounts of him by his French contemporaries would give as a summary  : ^^ His pictures were sincere and penetrating interpretations of nature  ; he is dead, cut off in youth and hope ; we loved both him and his art." His life gives touching instances of filial regard and grateful memory of parental sacrifice in his early struggles ; one, his taking to the silk marts of Paris that he might array her, even against her humble protestations, in its richest fabrics, his brave little mother," who had earlier gone afield" that she might send to him the hire of another thus saved ; another, the crowning of his octogenarian grandfather with the honors of his success by incorporating with his own, his name, Lepage. His brush presents views of the fields, woods, and sunlight of his home in the land of the Meuse, and of the simple life around it, learned "by heart" as thoroughly as ever was Millet's. "I acquired my trade in Paris .... but I did not learn my art there," he wrote in 1876.' His art, in its best forms, was virtually the opening of windows into the Salon through which streamed the sunshine and "plein air" and with them the bright, too bright for the unaccus- tomed eye, coloring of nature.

Like a veritable Giotto he exercised his native tendency to copy at the age of five all things of the wayside, and this tendency was developed by his father's requirement that he should copy in the winter evenings some object of the household. The facility thus acquired, added to his gifts, enabled him to bear off at eighteen several prizes for drawing at the College of Verdun. He had been sent there at great sacrifice to the family, whose resources had also to supply the education of a younger brother, always very dear to Jules. He then announced his desire for an artistic education, which proved a cause of great sorrow in the family to which, including the wise old grandfather, art did not seem a sufficient career. At last maternal love first made a step towards yielding and timidly ventured, says his friend Theuriet, " However, if it is Jules's desire " — and Jules went to Paris in 1861, bravely undertaking for six months the double life of a

> Theuriet, alao Foarcond In the Oasette des Beanz-Aita.

468 A HISTORY OF FRENCH PAINTINQ.

postal agent by night and an art student by day. Finding this impracticable he reBoIyed to trost to the ravens for bread and aecnied art instruction by entering the studio of Oabanel at the ^oole des Beaux-Arts. The rayens responded. The grandfather, Lepage, aided, as he could, from the small pension upon which he had retired from a clerkship in the imposts, and the family contributed, as they might, a monthly sum to swell the pension of 600 francs accorded by the Ooundl General of the Mouse. In tbe war of 1870, as a yolunteer in a company of francs tireurs^ his disregard of life was evident Being wounded, his commander, the painter Oastellani, detained him in the hospital until the war was over. Thus saved to art, he presented at the Salon in 1874 his first pictures that commanded attention, as that of the preceding year. Spring, had been hung too high to be seen. They were  : one, a semi-allegorical, semi-realistic treatment, adapted to decoration in the style of Puvis de Cbavannes, whom he greatly admired. The Song of Spring ; and the other. The Portrait of my Grandfather. This was signed Jules Bastien-Lepage. The former was acquired by the State, and the latter won a medal for the artist of twenty-four years. Thus his first success was achieved under the grateful adoption of his grand&ther's name, and under it he also first appeared in the critiques of the Salons. He was at once dubbed a revolutionary, for this was a picture in open air,** little like a portrait, as he had not posed his model of Socratic head," bat surprised him in a familiar act, with his snufF-box in his hand, and had painted him from the vision of the moment,'* in the garden of the house at Damvillers. But its full lights served only to reveal great accuracy of drawing and an intense penetration into the life of the model, and his advocates declared that he was in the true line of tradition, even that of the sixteenth century.

Commissions for portraits ensued. At the next Salon he exhibited that of the banker, Hayem, which appealed more to the public by its broad and conscientious execution, and The Oommunicant, more to connoisseurs and artists. The latter in its originality diowed some elements in common with Puvis de Cbavannes — a ni^ awkward- nesSy a knowledge and sincerity, and, withal, the modem senti- ment. That year too he had competed for the Prix de Bome. The subject^ The Annunciation to the Shepherds, was a scene of the country, and in open air, all in the line of his tendencies. It was strongly conceived, and executed in his personal manner, and with his susceptibility to truth of impression, he had given to it in a marked numner the impression of a Bible narrative. Crowds were

THE NINETEENTH CENTURY. 469

attracted to it, to the entire neglect of the nine competing piotniea The shepherds are startled, as they sleep aronnd a fire in the open air, by the angel, who points to Bethlehem in the distance sarrounded by a miracnlons aureole. The poetry of legend and the sentiment of reality were combined. Its reception was a seeming augury of its success ; the yerdict of all presaged it ; Sarah Bernhardt placed a piece of laurel in the frame — ^but Oomerre won the prize.' Madame Baskerschefl, a Bussian and mother of one of his pupils, bought it. The next year he made another attempt, but not in sympathy with the subject, Priam Demanding the Dead Body of Hector, and seeking to conform in his treatment to the accepted standards, he failed to express the poignancy of emotion demanded by the incident. He thus escaped, it may be said, four years of further academical art, for excellent usually as fundamental work, it could only have post- poned his success in his own direction, until the maturer strength of his tendencies should haye restored him to his true poise after such a deflection. He painted portraits for support and, subdued in feeling, analyzed the cause of his failure, and by it attained to a comprehen- siye yiew of the yalue of art tendencies, and, more fully conyinced, returned to his light and air, to the nature that he loyed. Of this he now became eyen a more patient, conscientious, and delighted student. During his life of thirty-six years' struggle he always, to whateyer artistic result or pecuniary need it might lead, worked in absolute sincerity.

Thus he became the painter of the peasants of the Meuse in their rustic surroundings. His next important picture was The Hay Makers (Les Foins), 1878. His own pen picture of it in writing to Theuriet, presents it to us  :

«<

. . Of faint tones ; hay half dry, and hay in flower, all in the sun resembling a staff of pale yellow woyen with silyer, bouquets of trees bordering the stream and the field, giving yigofous spots, a Japanese aspect."

It presented laborers, habituated to work from infancy and of peas- ant face, form, and dress, rendered with deep insight of character, now in the heat of the day taking a moment's rest under the fatigue

> That eyenlng the friends of the two were Hupping at the restaurant of Mile. Anna, when an AmericaD artist, haying been raised upon the shoulders of others, crowned with laurel a picture hanging there, painted by him to whom the artists had judged the prise properly to belong, Oolden Touth. This, a scene in a forest with cupids hoyering oyer young loyers, had been painted by Bastien-Lepage, in his time of poyerty, to csncel a debt of 800 francs to Mile. Anna, whose restaurant was hung with pictures by the needy young artists of the Latin Quarter, for to them she was an indulgent creditor. After he became famous, many times this sum was offered for it but steadily refused.

470 ^ HISTORY OF FRENCH PAINTING.

of a forenoon's work. It was mnch discussed at the Salon, became an inflaence in art, and won many converts to the open air cnlt of Bastien-Lepage. But in the main, his pictures still remained unsold in his studio, while portraits furnished his support, though at the death of Oambetta, in 1882, he was employed to design the funeral car. From his studies of peasants, by a growth so natural that it might almost haye been predicted, he conceived a picture of that greatest of peasants, Joan of Arc Listening to the Voices (1880, Boston Museum), of which the background was still the garden at Damvillers. The critics having breathed the air of his Hay Field and of its pendant, The Potato Harvest, or October, of 1879, complained of a lack of atmos- phere in this, and also condemned the representation of the inspiring voices, which are a subdued '^ materialization of spirits ; " and its want of gradations of shades. From others it won enthusiastic admiration. The young girl is a poetic figure, in peasant's dress, listening with dilated eyes. The artist set high value upon it, and hoped for the Medal of Honor. That was awarded to Aim6 Morot, and Bastien- Lepage absented himself in London and there conceived an Ophelia from Shakespeare, but never completed it.

One hundred drawings, and more than two hundred of his paint- ings, all, except the Joan of Arc, exhibited at the Salons of the last ten years, were, after his death, collected for the first time, and exhibited in Paris in March, 1885, at the H6tel de Ohimay, an annex of the £cole des Beaux- Arts. Oonspicuous ones besides those already mentioned were  : The Beggar ; Le Pdre Jacques ; Village Love. All of them were scrupulously real, but full of poetry, a mingling found so charming in many of the younger French artists' worka He is extolled for his portraits, '^ before them one inevitably thinks of Hol- bein ; he pursued a likeness with an intensity of drawing, as he himself observed of the portraits of Glouet, and his friends called him '^le primitif. He painted portraits of Hayem (1878)  : Wallon (1876)  : Lady L., the only full-sized standing portrait by the artist, and Mes Parents (in the garden at Damvillers, 1877)  : Andr6 Then- net  ; William Klotz (1878) : Madame Sarah Bernhardt; Emile Bastien- Lepage (1879) : M. Andrieux (1880) : Albert Wolff ; the Prince of Wales (1881): M.W.; and Gambetta on his Deathbed (1882). That of Madame Drouet (1883), the friend of Victor Hugo, was one of his latest. As she was suffering with a cancer, and was struck down with her fatal illness at one of the sittings, the artist, when he came to die of the same disease, could never be divested of the idea that it had been communicated to him while painting this portrait. His last

THE NINETEENTH CENTURY. 471

drawing was a likeness of himself, made in black lead in bed daring his last illness  ; his last painting, Moon Bise in Algiers, whither he had gone seeking health.

Duez's natural bent for the study of art attained its aim only when he was of the mature age of twenty-seyen, after haying patiently

accepted the family decree that he should enter a silk 0843-* ^)!' pVu"*' house for business, and remaining there three years. M«d. 3d ci. '74. He then was allowed to go to Pils for instruction, and L*H«In*  ?8p.^* was also a pupil of Oarolus-Duran, With all his im- pulses prompting to fineness of detail and deyeloping an exquisite technique, he was, neyertheless, caught by the principles of Manet, and became a conspicuous impressionist. He had felt his way through seyeral stages, the historical while with Pils, then by a Dead Christ, of 1868, the religious, and he is most accurately classed now as a painter of genre  ; but it is a genre of open air, as is illus- trated in his Honeymoon and his Acoouch6e, a woman resting in a comer of a garden and looking upon the sea. He also paints portraits and landscape. The beauty of the face of woman, and the flow of her draperies, mingled with the depth of sky and wide sweep of horizon that the sea carries with it, furnish his affinities and his suc- cesses, as in his Beach of Villeryille. He had won no notice until he adopted Manet's principles of painting in patch and in the diffused light of open air, his first success being his Honeymoon, of 1873. He, howeyer, keeps his outlines correct, although he makes them slight by enyeloping them in atmosphere. Splendor and Want (1874), two full length figures, courtesans, in the same frame, established his reputation. Although criticised, condemned, accused of being merely sensational, it was at once purchased by an English amateur, who refused to allow any reproduction of it in any form. His Legend of St. Outhbert (1879), in winning a place in the Luxembourg, gaye him officially acknowledged rank, which all the penetrating thougbt of Dor6 won with great difficulty. This is a triumph of realistic art, and far remoyed fi'om the traditional treatment of religious subjects.

The legend represents the Saint as receiving bread from an eagie, and the scene of this miracle was the rocks just above Villerville. The picture represents a spirited and powerful eagle outlined against the sea. Was it its relation to the sea rather than its religious motive that dictated this choice of subject  ? It is cer- tainly totally devoid of religions fervor.

In a series of portraits, as Butin (1880) and De Keuyille, it is related that Duez insisted upon haying all sittings in the open air»

472 A HISTORY OF FRENCH PAINTINa.

6T6D in Btorm and wind. In the Salon of 1888 his work wai VirgiL

Batin, a pupil of Picot and of Pils, was a painter of ihe sea and its associations. like Duez, he had a studio on the heach at Yiller-

uiy... Loui. Arynoi. Butin ^1®> ^^ ^^^^ ^^^^^ makes the grand waters (i838-'83), St. Qu«ntin. the backgrounds, the support, of his little family

L*Hon** *8i ^* '****"' ^ *^^ society scenes, Butin affected the sea itself

and the life of the sea. Scenes of this kind he rendered in a broad treatment with depth of feeling and in a vein of sadness, as, in the Luxembourg, The Fisherman's Funeral, of 1878. In the door of the humble dwelling, comrades of the fishing Tillage and peasants from the surrounding oountryy collect about a ooffin, above which tapers burn and around which the weather-beaten men kneeL A Sailor Wife Sculling a Boat, of the Salon of 1879, is a well-conceiTed, well-rendered, statuesque figure, with a yigorous hand controlling the boat, slightly swaying in the water. The gray atmosphere softens all, but also imparts a melancholy tone to the picture. His last picture (1883) was The Launching of the Boat Others are  : Mussel Boats at Yilleryille (1874); Saturday at Villerville (1875); Women at Cap- stan (1876)  ; Departing (1877).

A group of younger urtists, Gervex, Boll, and Jean B6raud, haye carried painting into new fields of contemporary life ; the two latter H«nri G«rv«x ^^^ ^^^ grfmicst and hottest of its labor, while Ger- (1848. ), Pftrit. yez has chosen for 1887 The Olinique of Dr. P6an, into M«d. adci.'74.'7«. which hc has allowed all the impressionists' light of "" "'"' " the skies to stream upon the figures of professors, stu-

dents, and attendants, giyen in portadt. BoU and B6raud have also A.< u D..-.I  » .. recognized the claim of the Boulevards and Paris

Alfred Philipp* Roll ^ • • •

(Conumporftry). Paris. streets to bc represented among the pictures of M«d. 3d ci. '75 : ut ci. '77. coutemporary lifa In his Funeral at the Madeleine

(Salon 1879), in a cleyer characterization without

derision, but in simple obseryance of facts and manners, B4raud has

jMn Bdraud ^^^^ represented the accompanying simula-

(Contemporary). St. Pttortburg, tiou of griel Ou the Bouleyard, In the

but of Fronch paront«g«. Ohamps Elvsfies, and The Bouleyard near

Mod. 3d cl. '82; ad cl. '83. ,7^1^ ^y^^y «^«  *"^ *wu*^t«** u«»x

the Cafe Anglais, are other illustrations. Boll, through his comprehension of lucid sunshine and keen and breathable atmosphere, loyes all forms of open air scenes. He chose The Street Crier, Marianna OfiFrey and Boubey, Cimentier, for the Salon of 1885. But, be it in interiors or in the open air of the street, he giyesi usually on large canyases, with deep and simple sympathy,

F. BRACQUEMOND

LA TEKRASSE.

«  -f » ..V • f

■ ■ J I ^ >• c. . " - . . ..■;..

• J . ' . . . I • ^ i • I ' - ■ • t >•

111 ' .• ."v." '. .' , .'.t ... ^1. ' , , I \a • --^ ' .f . . '

V*  !j .'1 ' , . ■ • * .1 ..*'. ' Pi 1* i.: '• i' u«  ••■•:-■ 1

} 'I . "' ■ I ■ . •'  ». ■ < ' I ri . I ♦> 'i . f-J' J ' -.^ * >

' ••» .  ! '. \.T '. . . r " }

"•-• ••..

• '■'••"' - ' '..  » • }.»• I... , *♦ I .. « 

.' tn-i Ul

I

r-

i* (..

I •

1

>' ^  :•' 1-^  ;.•; ■•■ t ■!  :.'  :•• . .,

' ' • ' . * I . I. . n- 'f 1 1 .1 • . •. .,'

4

.1 ',♦  ;-..t.«'... . ^ * .'••; (»f I ■ •\ f\ ' ■ ".•  :•'

1

TEE NINETEENTH CENTURY. 473

•

without false sentiment, the seyere fonns of popular labors, popular Buflerings, and, at times, popular joys, with a keen penetration of actual moyement, and bears well the test that an artist's measure is his discernment of the characters he represents. His picture of 1888 was a landscape with accessory figures, full of the air and light and life of spring.

F6Iix Bracquemond (contemporary), a painter-engrayer, Paris; medal 1866; Legion of Honor, 1882; and who took in 1884 the Medal of Honor for engraying, affords the illustration of the impres- sionists' effects, here giyen, better than any reproduction of the work of the pure painters of the school proper could do.

Of the twenty-nine terms of the office since 1666 the fifteen Bec^ tors of the French Academy at Bome for the nineteenth century haye been :

1801, Sayte. 1888. H. Veroet. 1866, J. N. Bobert-Fleary.

1807, Paris, architect (par interim). 1885, Ingres. 1866, U&xxL

1808, Gaillon Lethidxe. 1841, Sohnetz. 1878, Lenepyeo. 1817. Th^yenin. 18i6, Jean Alauz. 1879, Cabat. 182d, Piezie N. Ou^n. 1863, Schnets. 1886, Hubert

THB PBSSBUrr OOKDinOK OF FBBKCH ABT.

That French art stands high in the estimate of the nations is eyl- dent from the facts that America eagerly gathers French pictures at any price ; that London keeps a permanent gallery of Dor6's work and another for temporary exhibition of new works of French artists, an appreciation which English art cannot win French artistic taste to reciprooata France, indeed, has few English pictures in her gal- leries, only within a short time (since 1872) opening a small gallery for them in the Louyre, where, in that year, there were but fiye pictures, one by Bonington and four by Oonstable.

Art production in France is prodigious in amount. But one necessity of the Frenchman's nature, his need for food, meets a fuller practiced recognition than his need for art, the business of restau- rant-keeping being the only legitimate business in Paris that exceeds that connected with art. Almost any surmise of what this interest, traced into its ramifications must be, is confirmed by facts, such as the multiplicity of exhibitions, of sales, and of art societies; the amount and quality of art literature, and, as we haye seen, the Goy- emment recognition of art, in laws and tax budgets.

The appropriation In the budget by the Municipal Coonoil of Paris for the Fine Aris in 1887 was 800,000 francs, it haying been the same in 1886. The

474 ^ HISTORY OF FRENCH PAINTmG.

entile appropriatioii by the State far art pnrpoaeB was in 1886 18»608,000 fraiMss, and in 1885 only 15,000 less. In 1884, 800,000 franoB were aoooidedby the Chamber of Depntiee to the Pronncial MoaeomB. The number of theee Moaeums had increaaed by that year to two hundred and eighty from one hundred and seTenty- seven in 1870, and one hundred and thirty-three under Napoleon in. in 18(B. Lyons has ite I^rix de Paris, as Paris its Prix de Borne ; and some proyincial dties, as lille, ha^e even their Prix de Rome. The place for the sales of works of art» the Hdtel Brouot. is owned and controlled by Oovemment, and, though not solely for art works, it has become an art centre and the locality of many art exhibltioiMi, as all art sales take place there.

Thronghont Franoe art blossoms almost oontinnally into exhibi- tions. An exhibition is the popular method of redressing a ¥rrong done to an artist in the Salons, of oommemorating his death, of sap- plying funds for the irietims of an inundation, of establishing a hos- pital, or of raising a statne to a hero ; all may be done by an appeal to the Frenchman's artistic sense. In 1887 sixty-fonr exhibitions were given. Important exhibitions are those of the large number of Artists' organisations, as :

The Association of French Painten, Architects, Sculptors, EngraTets^ and Designers, sometimes known as the Association Taylor, from Baron Taylor, the founder, having Bouguereau for president ; ' The Union of French Artists ; The flociety of Young Artists ; The Society of Aquarellists ; The Society of Women Painters and Sculptors, which reached, 1887, its sixth annual exhibition ; andTari- ous art dubs, one of which, '* Le Oerole de PCnion Artdstique,*' commonly called

• <le8 Mirlitons," founded in 1800, and in 1888 composed of over two thousand

members, is the most important. Painters form but a part of it. To " Les Amis des Arts,** requiring an admission fee of one franc, Baron de Rothschild bekngB.

The chief art organisation is the one officially recognized by the GoYemment, and to which it has delegated the entire management of the Salon. This organization decreed (May 12, 1883), in order to prevent longer being confounded with the Association Taylor, to take instead of the title. The Association, that of The Society of French Artists. It is open to all French artists who haye once had a work admitted to the Salons or TTniversal Expositions. Its object is chiefly, To represent and protect the general interests of French artists, notably, by the organization of the annual Salons '^ (Article 1), and, To lend aid to its members '^ (Article %). These number nearly 2,500 (2,345). Its reyennes are derived from annual assessments of its members and the fees of entrance to the Salons, from which it

> For 1886, as reported by its secretary, Its Income was 191,S0O frincs, and expenses 188,897 ; It bestowed in penaionB 85,604 francs, which snm was raised to 87,680 franos by temporary aid rendered.

THE NINETEENTH CENTURY. 476

meets the expenses of all the awards. It announoed a sum of 612,202 francs in its treasury in 1887. It annnally distributes in aid of artists about 25,000 francs. Bailly, the architect, has been its president since its formation.

Its exhibition, the annual Salon, oocupiee thirtj rooms of the immense Palais de rindustrie and alone is magnifloent testimony of the great artirtio interest of the nation. In 1887 the surplus for the benefit of the society was 828,100 francs. The expenses are, for the awards, three medals of Honor, one for each of three departments, 12,000 francs  ; for forty medals of three classes, the number in each class to he determined by the jury ; for the 1st class medals 700 francs each, for the 8d class 600, and for the 8d class 800 ; all amounting to about 60,000 francs ; the Prix du Salon is of 8,000 francs and the purses for travel 8,000 francs each. In the first Salon of the State (1888) so great was the crowd, the notice was posted that the right was reserved of dosing the doors at any moment

Of so vast a production, the work that wins distinguished notice, as weU as the honors now decreed by the body of French artists, instead of official authority, must not only represent the qualities of the art of France at this moment, but since it portrays the tendencies of both executant and judge, that of so much of the future as to make it no uncertain history. AU the honors, once slightingly termed official, now awarded by the free vote of the body not poUtic, but artistic— «ome directly, others indirectly — can but be an expression of the prevailing artistic sense, and therefore of value in art history.

Those to whom the Grand Medal of Honor, now decreed by the recompensed artists, has been for the last quarter of a century awarded, are:

1886, Cabanel: 1887, E. U.. Cabanel, Meissonier, GKrOme: 1888, G. Brion: 1889, Bonnat: 1870, Tony Robert Fleury: 1872, Jules Breton: 1874, Gdi^me: 1877, Jean Paul Laurens: 1878, E. IT., Cabanel, Bouguereau. Meissonier, and G^rdme: 1870, Carolos-Duran: 1880, Aim^ Nicolas Morot: 1881, Paul Baudry: 1882,Puvis de Cha- vannes : 1888, no absolute majority given to any one : Lefebyre received 180 of the 188 votes necessary to a choice  : 1884, no majority  : 1885, Bouguereau (but not by an absolute majority, a change of the requirement to only a relative majority of the votes then occurring): 1888, Lefebvre: 1887, Femand Cormon : 18^, tiSdouard DetaiUe.

Thus the painters of figures in the more elevated style have most fully met the artistic sense. There is not a pure landscape painter in the list, though Jules Breton's landscapes, it is true, vie in excellence with his figures. The severer study of drawing required for the human figure and of design for compositions into which the figure enters, seems to have been made the test of merit

The First Class Medal, which was pronounced in 1880 so exceptional

476 A HISTORY OF FRENCH FAINTING.

an award as to be remored from among the requirements of becoming Hors Oonconrs, has been given in the last fire years bnt once — to Henri-GaiUanme Martin (1883) for his Franoesca da Rimini.

Those who have been assigned to the chairs of the Institute, which assignnifiAt is made by the Yote of each Academy, approved by the executive, in the hist twenty years indicate the same estimate. {TMe, facing p. 133.)

Moreover the Prix de Bome is oftenest awarded to pupils of the painters of figures allied to historical painting, and the subjects assigned to this competition are always classic

That this may be, on the part of those responsible, a strenuous effort to form an anchorage by which to hold French art to the forms authorized by ages of acceptance, to keep it from floating quite away, even into pleinair/' or from dashing itself against the rock of extreme realism conspicuously in its way, makes it no less an evidence of the present French valuation of the ideal. This effort has effected much ; in the Salon of 1886, nine hundred pictures of antique subjects exceeded in number those of any other class and occupied a space of 3,297 yards, an average of about two and a half square yards each.^ Is this a measure of the hope of a purchase for some museum by the State?

Thus the qualities judged worthy of highest honor in France are left in no uncertainty. Taking a broader list of those elected by the body of artists to form the '^ Salon forty," the jury of admission and recompense (identical since 1870), we find that for nineteen Salons of the last twenty years, beginning with that of 1868, those acting have been  :

Cabanel, VoUon, 17 tunes; Joles Breton, Bonnat,* 16 timee; Baadiy, Henner, Bender, Busbod, 14 times; Lefebvie, O. Bonlanger, Booguereau, J. P. Laureost 18 times  ; Fran^ais, 11 times  ; Delaunay, Paris de Chavannes, 9 times  ; Cabat, Harpignies, Bobert-Fleurj, Fromentin, Luminals, Gdrdme, fianoteau, Benjamin- Constant, Roll, Tony Bobert-FIeurj, Daei, Bapin, GuiUaumet, LansyBr, De Voii- lefroj, Detaille, Guiliaumet, Goillemet, De Neuville, Lalanne, 8 times  ; Gacoins- Duran, Ribot, Fejen-Perrin, Dabnfe, Van Marcke, Barrias, Humbert, De CShen- nevi^res, Pils, H. L^ry, Laag<6e, Bonvin, 2Siem, Amatuy-Dayal, Pelonse, Chaplin, Ziem, 7 times; Meissonier, Pille, Philippe Boossean, Oervex, H. Leronz, Maignan. 6 times ; Renoof, Brion, Connon, Yon, Protais, Pils, H^bert^ 5 times ; J. Dapr6. Gleyre, Lavieille, Cazin, Batin, Saint-Pierre, Cot, Daabigny, 4 times ; Bastien- Lepage, Bin, Vayson, Aim€ Moiot, Jalabert, Bida, Compte, Corot, IL L6vy, L. Leloir, 8 times.

> PariB Joarnal, as quoted in Art Journal, July, 1886.

• In 1888 Bonnat had the highest number of votes ; in 1887, liOfebYxe, via., 1,496 ; tai

1886, Bonnat 1,268 ; 1886, Henner 1,818.

THE NINETEENTH CENTURY.

4ni

These results are again confirmed by the qualities of the fifty who constituted the proportion of painters in the first Honorable Council of Ninety forming the administration of The Society of French Art- ists, and elected by the artists eyery three years  :

BoagaereML

Lalanne.

RoU.

De Vuillefpoy.

Pilie.

Batrias.

Vollon.

Batin.

H. L^Ty.

Bonnat.

Does.

Ghiillemet.

J. P. Lauens.

Peloiue.

Fejen-Perzin.

LefebTie.

Layiffille.

ProtalB.

fiarpignies.

Lansyer.

Fantin-Latoor.

Batin.

Luminals.

Ribot

Fian^ais.

Cot

Morot.

Bonlanger.

PuTis de ChaTannes.

Gormen.

Henner.

Hanoteau.

Bemier.

Humbert.

Lerolle.

Mazerolle.

De NeavJlle.

Cterin.

Duprf.

Tony Bobert-Flenry.

Bapin.

Benjamin-Oonstant.

DetaiUe.

Bin.

Vfui Marcke de Tiummen.

Bosson.

Carolufl-Duran.

Bastien-Lepage.^

CabaneL

Gerrex.

But though, so great is the interest in works of humanity and con- temporary life, pure landscape does win only a minority of these honors, the recent tendency of French art to landscape effects, and to the study of external phenomena, is made apparent in all forms of art at the Salons  ; in decorations, allegories, anecdotes, interiors, and portraits. MoreoYcr, under all inducements to the ideal treatment, the tendency to realism is conspicuous ; rampant in the younger artists, it has made its touch felt by all, eyen by the painters of the historical style. Indeed, a summary of the art of the nineteenth century would furnish the comprehensiye sweep from an Olympian apotheosis to an apo* theosis of the actual ; the trayersing of a path from the warrior heroes of Greece to the peasant heroes of France, from the fabled labors of Hercules to the real labors of Jean and Jeanne. The yast difference of treatment, too, is epitomized by the antithesis of Dayid's requirement of a type, the man type, the woman type, and the later stuidard, that of indiyiduality as presented in the words of Bastien- Lepage  : There are no two things alike  : talent consists in untan- gling and rendering what is special to each."

From each artist this realism has taken a personal quality, as true realism must. Thus in G6r6me, we find it clear and acute ; in Meis-

> Elected January 19^ 1881. Official reporta in Catalogue of Salon.

478 -A HISTORY OF FRENCH PAINTING.

Bonier, trae and exact ; in Gourbet, solid ; in Millet, spiritnalized  ; in Breton, cheery and sunny ; in Lefebvre and Henner, generalized ; in Oabanel, irrepressibly graceful ; in Bonnat, oyerpoweringly strong ; in De Ohayannes, Lnminais, and Gustaye Moreau, a consciousness of the present in dreams of the past ; in Bargue, a necessity of deli- cate accuracy ; in Frdre, an appeal of facts to sympathy ; in Bosa Bonheur, a portrayal of objects loyed as they are ; in MeiBon, the humanizing of Scriptural characters ; and in Decamps, simple impres- sions of sunshine.

A disposition to substitute, even in the decoration of public build- ings, the familiar figures of modem life for historic subjects has been everywhere apparent. Baudiy did it, as it was done, but not with the frankness of the present practice, in the fifteenth and early sixteenth centuries in Florence. Then it was under the pretext of a religious subject, the custom against which Savanarola's invective was directed. So in Holland in the seventeenth centnry, under the cover of illustrat- ing some event or poem, real personages were grouped in actual por- traiture. The dreamy Lefebvre has used mythology as a pretext for a presentation of actual beings, and even the inexact forms of dreams have not escaped the realistic treatment. Bealism is, in truth, based on the positive, dear-seeing, intellectual character of this scientific age, which demands definite facts, and it, therefore, has a sure exist- ence. Lefebvre, with the charming Henner and the poetic H6bert and others of the idealistic realists, give to this naturalism a kind of exalta- tion ; they take their impressions direct from nature, and proTe that the ideal and the real are, indeed, but the two sides of the same thing.

While these artists seem thus to give to their flights an anchorage. Millet, on the contrary, seems to take reality into an atmosphere of idealism, or, perhaps more truly, to look at nature with an eye that perceives its highest truths, which, indeed, are what constitute the ideal ; he catches the gold that the sunshine pours into nature, the significance that expression takes from it, the grandeur that arises from it even in its rudenesses. In his idyls the earnestness or feeling is rendered only the more powerfully, because he has observed exter- nals closely and reproduced them with realistic detail, with differen- tiating exactness. Minute observation in character-reading, like dose study in science, is the only method of learning truths, or represent- ing the individuality that vivifies a raconteur's presentation, be it in words or colors. That idealist who makes real, offers a glimpse of the attainment which the two principles, not really conflicting, may together work out for French art. As Minister Fallidres said in

THE NINETEENTH CENTURY. 479

bis address of presentation of 1884  : ** Has the respect for nature in art or in letters the effect of destroying the ideal P What greater poet than Homer and yet what poet more natural?" The natural is in truth the basis of the ideal. Does not, then, the coexistence of these principles truly give art in its highest forms P Idealistic realismi realism in its unstrained sense of truth, not uncouthness, will become the ineyitable result

True art then is not a fashion or a caprice, but a permanent reality There is a changeless under the changing ; under the seeming, a real Whateyer has been true art in the past, still is true. By the same talismanic influence haye artiste of different periods been charmed into creative power, but they hare not woyen the same textures nor moulded the same forms. Kew art is like new music, the old notes in new combinations, which still, however, make vibrate the same chords inherent in our nature. For the future, then, may we not anticipate a perfected art composed of tones tested and approved P Imagination may listen for that art's French melody. In it, above the buzz of all trivialitieB, will be heard the sweet and happy tone of Gorot, Daubigny's songs of nature, with the constant and true forest note of Bousseau* May there not be there a chant to woman, rich in the mingling of Henner'shigh, clear tenor, with some note of OabanePs Grecian harp, of Lefebvre's vague air, of Hubert's subdued plaint, and Bouguereau's mother song, while also, in an undertone, will come a vibration from Oarolus-Duran's brilliant touch with the patient field plaint or haiv vest song of Breton, Lhermitte, Adan, and Bastien-Lepage  ? And may there not be heard in this, perhaps, an apologetic echo of the penetrating tones of 0£r6me and his followers P The deep bass of Oourbet's realism, the distinct truths of Meissonier's staccato treat- ment, the finer notes of all of those giving delicacy and truth of detail, as well as the more robust choruses of Boll will be audible. With the graceful strain of Prudhon and others of this century's first decade and of the later neo-grecs will be combined the childhood's prattle of Frdre aud Lobrichon, gleeful or plaintive as may be ; the humble fireside warble of Oreuze and the unconscious poetry of Ohardin, Vollon, and the painters of the gentler genre ; the thrilling resonance of Delacroix and Giricault's feeling  ; the young warrior-artiste' sharp, combative, yet saddened echoes of the late battle sounds, mingling with the clarion notes of Vemet and Yvon  ; the color harmonies of Diaz and Monticelli ; something of the impressioniste' shrill cry for light and '^ open air ; " a faint sound of the majestic march of David^ set in a tenderer key by Puvis de Chavannes.

480 A HISTORY OF FRENCH PAINTING.

And, ihoagh rich and yaried the symphony may be, imagina- tion hears in the whole gamut of French art but faint npswelling of organ notes, few cathedral tones of religious power and elevated emo- tion : there may again faintly vibrate the earnest feeling of Oham- paigne and Lesuenr, the reverent one of Flandrin, in unison with even a deeper solemnity of religious theme yet to be aroused. Up through this, the sacredly sincere hymnal of MiUefs '^ painted sound '^ of prayer and praise will certainly lift its chant and make conspicuous amid all, even in the arfc of the race that seeks primarily beauty and glory, the earnest, elevated, religious qualities of humblest human nature.

INDEX.

ftoe also Alphabetletl Liito: of Artists of XVnth Cflntnxy, 70; of XVmth Oentoiy, l»-8; LuMlscspe Painten of XVlilth Oentmy, 1£1 ; of ZlZth Oentorj : Classicists Contemponxy with David, 166-6 ; Davld^s Papils and their Contemporaries, 17d-8 ; Painters of Genre of Classic Period, 181-S ; of Landscape of Classic Period, 180 ; of Historical Style of Romantio Period, m-S ; of Landscape of Bomantic Period, 966-7 ; of Landsc^w and Animals of Bomantio Period, 961 ; of Semi-Classical style during Oliird Period, 908-8 ; of Landscape and Animals during Third Period, 8Q0-8  ; of Oriental Scenes daring Third Period, 898-0 ; Artists passing over to Genre Painting, 867-8-0 ; Painters of Genre, "Hors Conoonrs,'* 868-4; of Genre, others, 896-4 ; Bostic Genre, "Hors Conooars," 808; History, '*Hor8 Conoonrs," 488; History and Genre, "Hors Conooors.** 441; MiUtsry Subjects, "Hors Conoours," 448, 440; Landsc^>e, papUsof Corot,4SB; lAndsc^pe, 468-4 ; Marines, 466; Still life, 468; Fruit and Flowers, 460.

A.

Abb^ma, Madame L., 406.

About, E., 886, 418, 421, 480, 445.

Academies, Pioyincial: Amiens, Bor- deaux, Clermont-Ferrand, Dijon, Do- nat, Marseillefi, Metz, Nancj, Pau, Bhelms, Rouen, Toulouse, 88.

Academy, French, at Rome, 2f^; renda- tions of, 29; rectors of, list for XvIIth century, 80 ; rectors of, list for XVIIIth century, 128; rectors of, list for XlXth century, 478 ; rea^ations of under Napoleon I., 128 ; location of, 60, 128 ; regulated under Napoleon III. in 1868, 266,267.

Academy of Painting, founding of, 17, 19, 28  ; exhibitions of, 24, 5, 6, 7, 8, 88  ; regulations of, 21, 8  ; advantajees of, 24, 6; disadvantage of, 26, 7; finances o( 27 ; expulsions from, 26, 80; membership regulated, 80; kings its protectors, 80; looselyadministered, 81 ; reflated by Louis XVIth in 1777, 81 ; given flxea lodgment, 82 ; abol- ished, 88  ; membership in XVUIth centiuy, 88.

Academy of St Luke, 21, 82, 97, 98.

Academy of St Luke at Rome, 9, 21.

Achmet I., 84.

Acquisitions for National Galleries by Krands L, 16  ; by Loois XIV., 17, 18; by Louis XV., 74; by Louis XVI., 77 ; by Napoleon 1^88, 126 ; by Louis XVIII., Charles X., 188 ; by Louis PhUippe, 197; by Napoleon IIL, 270, 271.

Adaoi L. E., 401, 479.

81

Admissions to Salons, unllmit^wl, 88.

Age of Louis XIV., 16-72.

Aginoourt, Seroux d*, 148.

Agnes, Mother, 47.

Aid to artists after Revolution of 1848,

268. Aim6 Thom6, 146. Alaux, J.. 264, 402, 478. Albano, 71, 75. Alexander, Czar, 46.

" Emperor, 167, 198.

" the Great, 191.

" Vn., Pope, 62. Algerian war, 177. Algiers, attraction of, 228-9. AUgny, C. F. F. C. d', 187-«, 287, 288. Amaury-I>uval, E. E., 488. 476. " Anciens, The Twelve," 22, 28. |

" Fourteen," 28. . i

Angellco, Fra, 8, 843. An^viUer, J>\ 77, 79, 80. Ajumalpainting in XVIIIth centnry,12ft Anne oi Austria, 27, 48.

" " Brittany's Prayer Book, 7. Antin, Due d', 74, 84. Apelles, 217. Arafio, Emmanuel, 826. Archimedes, 88.

Archives de Tart francais, 22, 49. Armand-Dumaresq. 441, 448, 468. Amauld, Robert, 47. Art, L', 61.

Art of the Revolution, 78. Art personal to Napoleon L, 128. Art, the true aim oi, 198. Art under Convention, 88. Association Taylor, 474. Astenus, bishop of Amadis, 1.

482

INDEX.

Aubert, E. J.. 817. 987, 888-4.

" E., 8»1. Aublet, A., 819. Aadnn, 92. AuTimy, Louis, 86. Ayolara, AniiA, 82.

B.

Babaty, Oabrielle; Madame Gieuae, 115.

BMhelier, J. J., 122. 194k 195.

BaokbovMn. 110.

Baoon, Heniy, 207, 861, 898.

BaUlY, A. N. PvBsideiii, 475.

Baiil/s Catalogue, 17, 18. 62.

BaUou, Roger, 409.

BaUoK, P., 420.421.

BartuBon, 258, 857, 462.

Bardin.149.

Bacgue^ C, 819, 831, 47&

Bamaa, F. J., 848, 487, 441, 477.

Barron, Henri, 860.

Barth^lemy, 58» 166.

BarthellemT, 84

Bartholdi, 240.

Basbkirteeff, Madame, 276.

BaBtteB.LeMige. J., 251, 898i 401, 441,

458, 466-71, 470, 477, 479. Bastien-Lepage, Bmile, 460, 467. Baudooin, P. A., 106*7. Baudraud. General, 212. Baudry, P. J. A., 408» 427-80, 475, 476»

478. Bayle, St. Johi^ 89. Bayre, 196. Beaume, 401. Beaumes, 894. BaattYaia Tapeotriea. 104. Bellang^, 447. BellyiL. A. A., 228, 807. Benaeset, 468. B^oezeob, Minister, 86. Benjamin-Constant, J. J., 228^ 819,

^-7. 401, 476, 477. BenouvUle, A, J., 187. Bentiyoglio, Cardinal, 44. B^raud, J., 463, 472. Bemardin de St. Pierre, 11, 280. Beme-Belleooor, E. P., 849, 444. Bernhardt. Madame Sarah, 825, 469. Bemier, C, 450, 461, 466, 476, 477. Berri, Due de, 89.

" Dacheaae de, 267. Barrier, Paul, 258. Besnafd, P. A., 449. Beul^, 19, 267. Bida,470. Bidault, 84. Bienaim4, 84

Bigot, C, 882, Bifieti P., 887,

Bin, J. B. P. B.. 476,477.

Blanc, Charles. 54, 68, 91, 120, 161, 167,

200, 208, 205, 228, 258, 260, 278, 888^

483. Blanohard, Prol Jaoouee, 84 Boisfrsment, M. aids Pmdhon, 164 Boiasidre, Samuel, 59. Bonaparte, General, 162, 168. Jerome, 178, 286. Joseph, 252.

Madame JoaspUae^ 162b 174 Lnden, 197. Marie Louiae^ 166, 178. Bonhenr, Auguste, 294. «  Germain, 296.

Isidore, 295-7-8. " JuHette Peyioi, 296.

Macia-Boea^ 188^ 267, 284-«. << BaTmoQd, 294 296i 997. Bonington, 204. 280. Bonnat, L. J. F.. 406k 412-14 475. 43t,

477. Bonvin, P. S., 176. Boucher, Francois, 76, 99, 102-4, 100,

112, 114, 141, 146, 271. Boucher, Juste, 107.

Madame, 107. Boucbot, 225.

Boudin, R, 868, 468, 476, 477. Bougnereau, W. A., 850, 808, 894, 406-

6, 408, 449, 474 475, 476, 477, 479. Boulanger, 108. Boulanger, Gustave, 217, 819-21, 488^

476,477. Boulanger, Louis, 208, 248. Bourdidion, Jean, 5, 6. Bourdon, 8., 21, 58, 60. Bouth^me, SB. Bousonnet, Ciaudine, FraiiQoise and Aur

toinette, 42. Braoiano^ I>uke of, 82. BrantOme's Chroniolee, 11«  BrucasBat, 195, 249, 267-8, 264 Brann, Maidame, and bar djQg, 416. Brantano. Louis, 6. Breton, B. A., 887, 460. Bieton, J., 159, 246, 267, 882-7, 408^

475, 476, 479. Brevetaires, or Privil^gife, 20. Bridgman, F. A., 819. Briirpftul,44 Brion, G., 408, 475, 476. Brochures at the Salons, 8L Brouer, A., Ill, 271. Brown, Madame Henriette (Madame da

Saux). 406. Brown, John Lewis, 468. Bry, Paul, 419. Bulet, 20.

Bureau of Fine Arts established, 97L Burgundy, Duchess of, 92.

INDEX.

488

BnrgondT, Duke of, 67.

Biini8» 115, 190, 280.

Bnnon, U. L. A., 468, 46i, 471-8, 476,

477. Batier, G. B., 202. Busesu, Marie Jeanne, 106. Byion, 190.

C.

Oabama, A.. 246, 268. 289, 882, 827, 860,

894, 476, 476, 477, 470. Cabanel, P., 401-2, 468. Gabat, N. L., 282 251-2, 260, 478, 476. GaiUebotte, 462, 468. 466. Fallot, Jacques, 84-87. OMnilio, 89. Canova, inflaenoes David, 142; Iriend

of Prudhon, 152. OaracaUa, 486. Carafle, 168. Gftrayaggio, 82, 74, 75. Cardon (engraver), 96. Carignan Uallery, 74.

• < Prince de, 99.

CaroluB-Daran, his modem accent, 864 ;

earlj taste for drawing, 854; straggles,

854; saocess, 854; power in color7o55;

teachings, 856; scope of snbjeets, 857;

Medal of Honor, 475 ; on ^ry, 476 ;

committee of nine^, 477, 479. Carmooi, 83, 62, 65, 71, 75. Garreau, the poet, 48. Gars (engrayer), 102. Gartier, 462. Gastellani, 468. Gatalogoes of Salons, 27. Catiuulne de^ Medid, 9. Gaies, 111.

Gann, J. G., 889, 441, 476, 477. GavluB, Comte de, 80, 94. Geilini, Benyenato, 78. Central Mnseom (Ijouyie)^ estMished,

87. Gbalet, The, 818, 829. Ghalgrin, 140.

<* Madame, 175. Champaigne, Philippe de, 16, 86, 46-7,

282,^S». Ghampaigne, J. B., 47. Ghampfleary, 888. Ghampmartan, G.. 199, 206, 248. Ghanayard, P., 288-9. Ghancellors of Academy, 22. GhantUou, De, 28, 87, 76. Ghapel of Garmes, 48. Ghaplin, G., 406. Ghardin, Pierre, 114. Ghardin, S., 77, 78, 107, 106,109,111-14,

115, 116, 117, 171, 211, 479. Charlemagne, 2.

Charles I., King, 17, 81.

Charles II., 67.

Charles IV., 1.

Charles v., 1, 10.

Charles VIL, 6.

Charles VIII.. 6, 7, 9, 16, 71.

Charles IX., 13, 15.

Charles X., 161, 181, 227, 267.

Chariot, 165, 185.

Charlotte of Savoy, 9.

Charnay, 460.

Chartreose at Paris, 58, 54, 65, 77.

Chasseriaa, 488, 484.

Chassevant, 488.

ChlUeau de Benil, 82,

Chateaubriand, 140, 158, 190, 280.

Chavet, V., 845.

Chavignarie, BeUierde la, 166.

Ch^er, Andr^, 144.

Chennevidres, Marquis de, 40(^ 482.

Chennevi^res on jury, 476.

Chenu, 117.

Ghenu, Henri, 468.

Chesneau, Ernest, 167, 184, 186, 466.

Chevalier, £tienne, 8.

Ch«villiard, Vincent, 850-1.

Chintreuil, A., 241, 268.

Christina, Queen, 59, 75.

Churches. Carthusian, Termini, Sicily, 97; Nenwiller in Alsace, 2; La Tri- nitS, Paris (Franoais), 251 ; Le Mans, 2 ; Madeleine, Paris (Zeigler), 216; Montauban Cathedral (Ingres), 169; Nantes Cathedral (Flandrin). 286  ; Notre Dame de Loiette (Dev^ria), 208; Notre Dame de Paris (May Pic tures), 86, 49, 55, 57 ; Bonen Cathe- dral (Deshays), 106 ; St. Eustache, Paris (Couture), 292; St. Germain des Prte, Paris (Flandrin), 286  ; St. Martin d'Ainay, near Lyons (Flan- drin), 286 ; St Martin des Champs (QMme), 816 ; St. Paul at Nismes (Flandrin), 286 ; St. Peter's, Rome (Subleyras), 97 ; St. Paul's, Paris (Lebran), 51 ; St. S6verin, Paris (Flan- drin), 286; ((}6rdme), 818, 816  ; St. Sulpioe (Delacroix), 206-6, (Lenepven), 427; St. Vincent de Paul, Paris (Flandrin), 286 ; White Friars, Paris (hkm Glaize). 487.

Clairin, G. J. V., 819, 825-6, 441.

Clairville, Chevalier de, 64.

Claretie. Jules, 294, 317, 854, 865.

Classic art of late XlXth Century, 192, then true art, 198.

Classicism, 78; recognised bj QoTem- ment, 86; period of in XlXth Gen. tury, 180-^; as practised by David, 188-9; tyranny of, 189; inftuenoe, 140 ; sources, 140.

484

INDEX.

Claude Lomin, 43-6, S81, 248, 200.

Olement V., 9.

Clouet, Fmi9ois, inportandts fiom Fnud- oisl. to Ghatles IX., 12.

Cloaets, the four, Jehan, Jean. Fnui9oiB, and " the brother of Janetr 10-18.

Ooan, Dr. T. M., 881.

Cochin, engrayer, 99, 96, 115.

Cogniet» bSon, 186, 194, 220, 264, 806, 400, 412, 488, 486.

Colbert, 22. 26, 28, 47, 48, 61, 68, 71, 74, 86, 129, 264.

0(dlectionB~Andr6, M. Edonard, Paris, 848  ; Angelo, Madame, Paris, 848  ; Antelo, Mr. A. J., PhiL. 844; Arthur, Mr. T. G., Glasgow, 891; Ashton, Sir Samuel, London, 210 ; Astor, Mr. J. J., New York, 819, 844, 486 ; Astor, Mr. W. W., New YoA, 819, 844  ; 486; Astor, the late W. B., New York, 861; Aumale, Duod', Chan- tiUy, 106, 164, 207, 215, 848; Ayen, Duohesse d', 211; Baring, Sir T., London, 96  ; Barker. 106 ; Belmont, Mr. Aufust New York, 819. 844; Belvoir uastle, 41 ; Bement, Mr. W. B., Philadelphia, 344 ; Berri, Duohesse de, 892; Biandd, M., Paris, 848; ^nchard, Mr. G. R., New Yoric, 408 ; Bolckow, Mr. 0. A. H., Biiddles- borough, £ng., 848; Borie, Mr. A. £., Philadel^a, 876; Bor^^, Chl^ teau, 97; BoucheroD, M., Pans, 848; Brimmer, Mr. Martin, Boston, 876; Brooks, P. C, jr., Boston, 476; Brown, lir. A., Philadelphia; Buokingham Palace, 95, 96, 169; Burdette-Coutts, Baroness, 422; Butler, Mr. T. B., New York, 819, 844; Carlisle, Earl of, 12; Cassin, Madame de, Paris, 848; Castle Howflurd, 12 ; Cheyalier, E., 106  ; Co- lonna Palace, Rome, 48; Corsini Pal- ace, Rome, 42, 48, 46 ; Corse, Mr. Israel, New York, 819, 888 ; Cottier, Mr. D., London, 891 ; Cox, Mr. EL F., BrookWn, 819; Crabbe, M., Paris, 848  ; <>6mieux, M. L6vt, Paris, 848 ; Crocker, Mr. Charles, San Frandsoo, 819 ; Dayis, Mr. Erwin, New York. 476  ; De Foe, M., Genera, 882  ; Dev- onshire House, 48, 46, 56  ; DemidofE, Prince, 404; Dijon, Hall of Bur- ffundiui States, 161 ; Dinsmore, Mr. W. B., New York. 819 : Dousman, Mr. H. L., St Louis, 844; Dreyfus, M. Augusts, Paris, 848 ; Drexel, Mr. A. J., Philadedphia, 844  ; Drexel, the late J. W., New York, 819 ; Drum- mond, Mr. G. A., Montreal, 876; Duohitel, Comte d^ 886 : Duohayla, Madame, 157; Duohe^ M. Pierre, Paris,

848 ; Dudley, Lord, 12 ; Dumas, M. Alexandre. Paris, 848 ; Duncan, Laird of Benmore, 428  ; Duncan, Mr. James, London, 843 ; Eaton, H. W., M. P., 216 ; Ecole des Beaux-Arts, at the, 96, 106, 160, 278. 274 ; Egmont, Mass^, 106; Eugenie, Empress, 297, 298; Fell, Mr. J. G., Philadelphia, 875; Fodora, M., Amisterdam, 211 ; Gam- bard, M.. Pails, 843  ; Garrett, Mr. J. W., Baltimore, 819, 876, 400 ; Gemito, M., Naples, 844 ; Gibson, Mr. H. a, Phikdelphia, 819  ; Gobelins, 57; Gold- Schmidt, M., Paris, 818; Grelfuhle, Yicomtede, 848; Harper, Mr. Fletcher, New York, 816; Hatfield House, Lon- don, 168 ; Havemeyer. Mr. T. H., New York, 819, 844 ; Healy, Mr. A., Brook- lyn, 819; Heine, M Charles, Paris, 848 ; H^tford House, Londcm, 818; Hilton, Mr. Henry, New York, 819,849, 446; Hoey, Mr. J., New York, 819, 844; Hooker, Mr. W., Cincinnati, 875; Hottinguer, Baron, 848; Hugo, Vlo> tor, 288; Hulot, Baron, 848; Huntmg. ton, Mr. C. P., New York, 819; lorn- des, Bir. C. A., London, 888 ; Jabach, 18 ; Jessup, Mr. M. K., New York, 819; Kennedy, Mr. R.L.J«ewYork,819; Kidder, Mr. H. P., Boston, 844; King of Holland, 408 ; Kiroheloff, Count, 210; Kraft, M.,848; La Case, 95. 270. 271; Lefranc, M. Victor, Paris, 848  ; Leigh Court, 56; Leroux, M. Charles^ Pans, 848; Luta, M.,Paris, 848; Lyall, Mr.D. C, Brooklyn, 411, 448; Malmet, M., Pans, 848; Marjolin, Madame,. 211; Marseillee Hospital, 142; Martin, Mr. J. T., Brooklyn, 485; Mason, Mr. James, New York, 818; Manrin, 18; Meissonier, M. J.L.R, Paris, 848: Mur- ciUe, M., 151. 155; Mu^graTe, Mr. T. B., New York, 818; Nancy, Town Hall, 149; Naibonne, Due de, Pari% 848; Nanraei, 106; Newoomb, Bir. H. v.. New Y<»k. 819, 844, 875; Niyen, M., Paris, 843; NouTel Op^ Puis, 818 ; Orleans, Duchess of, 211 ; Orieana^ Duke of, 128, 215, 840; Osborne, Mrs. M. A., New York, 844 ; Pastre, M» 843; Paulinier, M., 258; Pender, Mr., Manchester, E^ , 818; Pereire, Ma- dame I., Paris, M8, 886; Peronne, M.» Paris, 848; Pompadour, Madame de, 104; Price, Mr. l)aTid, Lcmdon, 843 ; Queen of England, 211, 218. 841, 848, 428; Baucune, M., Berlin. 292; Bioh- elleu, 18; Boberts, Mrs. M. O., New York, 218, 819, 844 ; BockafeUer, Mr. W., New York, 819, 844, 876; Botbs- childy Baion Adolphe de, Vwdb, 848;

INDEX.

485

Botbflchild, Baron Edmond de, Paris, 848 ; Rothschild, Baron Gnstaye da, Paris, 848 ; Bothaohild, Baroneas Jamee de, 188, 210 ; Runkle, Mr. J. C, New York, 819, 875; Sandwich, Gonnt- e88 of, 218  ; Say, M. Lten, Paris, 848; Sayles, Mr. H., Bo0ton,875 ; tiohroeder, Baron, 848; Soott, Mr8.T.A., Philadel-

§hia, 819; Secr^tan, M. Paris, 848, 878; dvres, at the Porcelain Factory, 882 ; Seney, Mr. a. I., New York, 228, 818, 404 ; Siltser, Mr. John, London, 848; Smith, Mr. C. S., New York, 819, 844 ; Springer, Baron, 844 ; Stanford, Sen- ator L., San Francisco, 819, 844; St. Clond, 152, 265 ; Steenmehl, M., The Hague, 844 ; Stebbins, Mr. Jamee» New Yoric, 816. 818, 819, 844: Sterens, 106; Stevens, Mrs. Paran, New York, 819, 844, 875; Stewart, M. Wm., Paris, 819; Stuart, Mis. B. L., New York, 819, 844, 875, 898 ; Sultan Abdul Azis, The, 818; Sutherland, Duke of, 215  ; Tabourier, Madame, Paris, 848; Taft, Mr. R. C, Providence, 875; Th^naid, Baronne de, Paris. 848; Th^toe Fran- ads, 895  ; Tr^deme, Vioomtesee de, Paris, 843 ; Tr6tiakoff, M., Moscow, 844; Trudaine, M. de, 148; Tuileries, 255, 895; Tullis, Mr. James T., Glas- gow, 889 ; Turquet, M., Paris, 486 ; Vanderbiit. Mrs. W. H., New York, 819, 821, 885, 886, 844, 870, 875, 884, 401, 418. 447; Vanderdonck, MM., Brussels. 818 ; Yander Vies, M., 844  ; Van Praet, M^ 887, 848, 878  ; Van der Hayen, M.; Wall, Mr. B., Providence, 805 ; Wallace, Sir Richard, London, 96, 102, 106, 210, 211, 215, 292, 840, 843 ; Walters, Mr. W. T., Baltimore, 218, 242, 287, 814, 819, 844, 875, 890. 896; Warren, Mr. J. H., Hooeick Fklls, New York, 805 ; Wifglesworth, Mr.. Boston, 879 ; Wolf, Mr. J., New Yoik, 400, 411.

Ck>lin, P., 442, 452.

Ck>lonna, Francesca, 58.

Gomene, L. F.. 411, 4SI^,

Ck>mmune G^nerale des Arts, 88, 84.

Communists in 1870-1, 271.

Compte-Oalix, F. C, 846.

CJomt^ P. C, 847-8, 476.

Ck>nditions of XVIIIth Century condu- cive to genre, 91.

Constable, 226. 230, 248, 247, 248, 249.

Constant (v. Benjamin-Constoiit).

Constitutionnel, Le. 200.

Corday, Charlotte, 144.

Cormon, Femand, 819, 827-8, 476, 477, 478

Comeille, Biichel, 88.

Corot. J. B. C, 186, 188, 281, 282, 288, 284--41, 242, 245, 246, 252, 264, 266, 258, 881, 462, 476, 479.

Corregj^, 74, 75, 101, 150, 866. 867.

Corsini Palace, 42.

Cot, P. A., 220, 896, 411-12, 485, 475, 477.

Cottier, 240.

Couder. 264.

Counsellors of Academy, 22.

Courbet, G.. 195, letter of 1860, 196, 207, 876-88, 462, 464, 478, 479.

Courrier de Dimanche, 880.

Courtois, 86.

Cousin, Jean, 10, 18-14, 80.

Couture, Thomas, 196, approved by Gros, " trapu," of vigorous talent, but incomplete plans, S50 ; masterpiece, 291 ; works, books, pupils, 292, 894, 481, 448, 464, 465.

Coypel, NoSl, 60, 89, 112. «< Antoine, 60, 75, 76, 89. '< Charles Antoine, 60, 98, 101.

Co^vQX, 69.

Crimean War, 177.

Crosart, De, 94.

Curd Besson, 150.

Cuvillier, 441.

Csar of RusBiA and Yemet, 180.

D,

Dagnan-Bouveret, 468.

Damerey, 880.

Damerez, 287.

Dan, Le Pdre, 16.

Dance of Death, the Chaise-Dieii in An* vergne, 8.

Danto, 2, 199, 815, 401, 442, 448.

Danton, friend of David, 144, 176.

Dantan, 468.

Daigelas, 894.

Daubipiv, C. F., 281, 251, 254-5 ; artis. tic mneritance, love of color, an4 wator scenes, 254 ; rendering of values, vegetation, goes to Italy, succesB^ 266.

Daubipiy, K. P., 266.

Daumier: H., 465.

David, J. L., 78, 88, 84, 96, 102, 118, 119, 121, 125, 128, 129, 141-« ; lirsk style, 142  ; third, 144 ; fourth, 145 ; influence, 147  ; in exile, 148 and 148 ; children, 148; works, 148, 160, 161, 162, 168, 175, 182, 200, 201, 206, 914, 218. 857, 441, 479.

David, pupils of, 156-171.

David <rAnger8, 881, 896.

Debret, 166.

Decamps. A. G., 195, 222-S, 281, 24^ 249, 2^, 279, 296, 800, 888, 478.

486

INDEX.

BeoemiiAl Prise, 181, 108.

De CharmolB, 24.

Decoration of Order of St. MJchiml re- newed, 184.

Decorations of L^on of Honor under Bonrfoons, 184.

Decret, Paul, 80.

Delacroix, Bugdne, 97, 161, 167, 171, 198 207, 214, 218, 221, 222, 228, 228, 248. 247, 249, 202, 268, 254, 278, 290, 804, 807, 809, 867, 891, 484, 465, 479.

Delaroobe, Himwlyto. 165, 181, 214-18, 285, 287, 880, 888, 884, 881, 892, 894, 895.

D61orme, Madame fi., 406.

Del Sarto, Andrea, 10, 74, 75.

Ddrname, J. L., 114, 186.

Demont, 460.

Denon, 126, 127^ 169.

Dten, Horsin Ml, 14.

Derwent, Charles, 44.

De Sanx, Madame (Henxiette Brown), 406.

Desboutins, 454.

DesbroGses, 241, 452.

Desfoms, 258.

Deogofles, Alezandie, 186, 187. Blaise, 112, 457.

Deshays, J. B. H., 106.

Desmonlins, A., 188.

Desportes, 101.

DesYoges of Dijon, 88, 151.

DetaUTe, £., m, 849, 850, 442, 445-7, 448, 475, 476, 477.

De Thou, 18.

Detoumeile, Seoretair, 84.

De Troy, Francois, 60, 66-7, 89, 11& «  '< Jean FiKQ^ois, 97, 98, 108.

Dev^ria, £. F., 207, 271. " Achille, 207.

De Vomefroy, D. F.. 408, 476, 477.

Diaz de la Pefia, fimile, 254.

Diaz de la Pefia, N. Y., 196, 281, 288, 247, 249, 251, 252-4, 260, 891, 479.

Diderot. 99, 100, 104, 110, 115.

Dinant, 108.

DirectoES of Academy, 22.

Distemper. 2.

Domemchino, 89, 75, 126.

Domenico, R. G., Claude's only pmiil, 45. — • «r-^

Donat, 88.

Doi«, G., 850, 876, 414-26, 471.

Dor6 Gallery, London, 422, 428.

Dor6, Smile, 418.

Doria, Duke of, employs Ponssin, 82.

Dorigny, 84.

Dow, Gerard, 888, 889.

Doyen, G. F., 102, 170.

DrOUing, Martin, p^, 156.

DrSUing, Michel Martin, 156, 159, 410.

Drouais, G. J., 161. Dn Barry, Madame, 196. Duljois, Paul, 425. Dubreuil, T., 14. Dnbufe, C. M., 857, 896.

'< Edouard, 857, 894-6, 476. " Guilianme, 895. Due, takes prize of the Empecor, 268. Duchesne, 16, 86, 46. Ducomet, 178.

Duez, E. A., 468, 464, 471-2, 476, 477. Dufresnoy, (\, 64, 65-6. Dufresnoy, President of Convention, 84 Dughet, Anne Marie, 88. Dumas. 826. 425. DumouiBtier, 80. Dupr6, Juke, 191, 281, 282, 289, 240^

242, 245, 247, 24a^ 262. 260, 476,

477. Dn Qoesnoy, 89, 51. Durameaux, his catalogue, 74. Duret, ThMKoie, 460, 464. Du Taoq, keeps Dora's Uoids under

fflass,419. DffBiger, at Acooeo. 894.

Barly native Art, 1. «  school of Art, 10.

Eoole des Beaux-Arts. 24, 29, 71 ; estab- lished in XVIIth Ctotury, 27 ; regu. lations under Napoleon I. and Liwis XVIII. (in 1819), 184.156 ; renovations under Napoleon III. by Nieuwerkeike, 266-7 ; rules, builcUng, 278.

Edict of Nantes, 16.

Elizabeth of Austria, Prineess, portnit of, 18.

Elle, Ferdinand, 86.

Enoouiagement of Fine Arts in Third BepubUc, 271-2 ; instruction. 272-4; recompense, 276-8.

"Envois," 29, 80.

Epemon, Due d', 65.

Errard, Charles, 28, 80, 44.

Este, Countess of, 117.

Estr^es, Cardinal d', made oiEer for Claude's Liber Veritatis, 45.

Eugenie, Empress, 287, 298.

Exemption, m, 26H, 268. 260.

Exhibitions by the Academy in XVUth Century. 24-8; first in JU>uvre. 28; in XVlIIth Century, after 1725 be- came Salons ; only two in forty-two years, 99.

Exhibitions, International : of 1851, 816, 881 ; of 1855, 181, 228, 289, 265- 6, 270, 288. 811, 818, 881 ; of 1867, 289. 245, 270, 818, 400, 401 : of 1878, 841, 485.

INDEX.

487

Fidtpool, 163.

FaUidres» Minister, 47&

Fantin-Latoar, fi., 800, 471.

Farnese Palace, 62, 65.

Faatin, 468.

Faavelet, Jean, 846.

FMob, Oardinal, 82.

Fdte-day of the Lonia, date of opening Exhibitiona, 26.

" FSte of Supreme Bdng." 148.

Feyen-Perrin, F. N. A., 860, 476, 477.

Ficbel, Bogdne, 846.

Fielding, 280.

Figure Painters, 894.

Flageolet, 881.

Flameng, Augoste, 468.

Flandrin, Hippoiyte, 170, 2ia 221, 264. 267, 288-7 ; aiteotion for Ingres, re- li^oas feeling, 288 ; stnun^es, 284 ; wins piiz de Rome, at Borne with Ingres, 286. portraits, mnral paint- ings, 286; death, 287.

Flandrin, J. P., 180, 260, 270.

Flemish artists at Lnzembonig, 16.

Flemish influence in ZVIIIth Oentnrj, 96.

Ftors, C, 250.

Flenry, Chenn, 468.

Flenry, L., 461.

Fodora, M., 211.

Font de St. Yean, 74, 87.

Fontaine, architect, 194.

FontaineblMHi, 10, 14, 80, 81, 48^ 61, 68, 99.

Fontaineblean Forest in art, 288.

Fontevranlt, Abbess de, 64.

Forain, 458.

Forbin, Gomte de, 177, 186.

Fortuny, 822, 849, 888.

Fouquet, Jean, 4-6.

Fouqnet, Minister, 48.

Fouqnidres, 88.

Fiagonard, £., 109.

Fraionard, J. H., 84, 106, 107-9, 117, 141, 154, 890, 891.

Franyais, F. L., 241, 246, 250-1, 260, 476, 477.

Francis L. 7. 9, 10, 11, 14, 15, 28, 71.

Francis II., 18, 15.

Francisqae, 46, 121.

Freminet, M., 14, 80^1, 86.

French Academy at Rome, 16.

Fi^re, ET, 802, 366, 892-4, 478, 479.

• «  Charles Bdonard, 894.
• ' Theodore. 806, 892, 896.

Friends of Art, Society of, 124, 474.

Frochot, M., befriends Pmdhon, 152-8.

Froment, K^, 4.

F^romentin, B., 228, 229, 281, 808-4 ; in- fluenced by Marilhat, 808 ; had two

muses, teachers, wvsknen, 804; tmral in Alg^rs, interpretation of Arab Vd% 805 ; Mthor, character, 806, 476.

Ftonde,The, 20.

Fuseli,40.

G.

Gkdleries.— BeiTedere, Vienna, 12, 56; Bridgewater, London, 40, 215 ; CSarif - nan, 74 ; Gassel, 45  ; Ck>rcoran, Warn- ington, 211, 816, 898, 485 ; Dor6, Lon- don, 422, 428; Doria, 62; Dresden, 87, 115  ; Dulwich, 49 ; Ghent, 408 ; Hampton Court, 12  ; Hermitage, St. Petersburg, 40, 41, 56, 95, 97, 114, 147; Imperial, Vienna, 87; Eunsthalle, Hamburg, 267, 844 ; Lichtenstein at Vienna, 66 ; Louvre, 18, 14. 15, 18, 84^ 85, 88, 89, 41, 42, 47. 49, 50, 51, 55, 56, 57, 67, 69 ; opened as a museum, 87, 88, 89, 98, 96, 97, 101, Wl, 106» 109, 111, 112, 118, 116, 118, 120, 124^ 127, 186. 187, 188, 142, 148, 147, 152, 158, 154, 160. 161, 168, 169, 170, 171, 174, 178, 188, 196, 197, 199, 200, 201, 208, 205, 207. 206, 210, 211, 212, 214, 215, 288. 258. 260, 286, 800, 828, 406 ; Luxembourg, 16, 86, 46, 56, 74 HO, 127, 178, 189. 208, 208, 210, 211, 231, 228, 284, 249, 250, 828, 880, 888, 848, 847, 851, 852, 858, 854, 869, 880, 884, 886, 887, 883, 890, 892, 894, 895, 896, 897. 898, 400, 408, 407, 408, 410, 412, 418, 422, 4^ 427, 428, 484, 485, 486, 487, 450, 451, 452, 457, 458, 471, 472 ; Madrid, 41, 44, 95; Munich, 401; Pinacottieic, 56; National, London, 88; 87, 40, 42, 106, 280; Orleans in XVIIIth century, 75 ; Palais Royal in XVUth century, 18 ; Palais Royal in XVIIIth cencnry, 75. 76 ; Rayene, Ber- lin, 261, 267 ; Sans Soud, 76; Tria- non. 57 ; Offln, Florence, 168 ; Ver- sid^es, 56, 69, 74, 106, 118, 120, 146, 147, 149, 150, 158, 179, 180, 181, 197, 205, 209. 215.

Galloche, L.. 96, 98, 111.

Gambetta, 470.

Gambinet, 260.

Ghinguin, 468.

GauUierot. 166.

Gautier, T., 207, 229, 251, 282, 818, 829, 881, 421, 481. 416, 445, 465.

Gtenre, 76-7; little esteemed, 129; fa- vored by Napoleon, 129 ; at height, 279 ; painters in Third Period, 835; won from classicism, 857; in sympathy with labor, 859; rustic genre, 864.

(Hrard, Baron, 84, 150-8; portraits, personal influence, 157  ; works, 158 ; 160, 178, 192.

488

INDEX.

Qeoflrey, J., 886, 888.

O^iioault, 1(», 166» 161, 188, 178, 183-

6, 196, 199, 801. 814 814, 887, 441;

in Salon, 1818, 188; his Medoaa. 184,

179 G^idme, J. L., 817, 845, 868, 879. 888,

887, 289, 808-19 ; Taried endowments,

808 ; early study, 809 ; flnt exhibition

a snooeas, 810  ; travels in Bossia and

Egypt and finds his tme magnet, 811 ;

strength of antitheses, 818; ms women

withoat souls, 812; Phryne, 818;

works, 814-19; hoinon, 817; follow-

era, 819. Gersaint, 91, 92» 96. Gerrex, H.. 401, 468, 46i 474 476, 477. Glgouz, 251. 452. Gifiot, 91. 96. Giotto, G., 467. Giradon. Madame, 25. Giraud. on jury, 84. Girodet. A. L., 158-«, 165, 184, 818,

220,257. GUise, A. B., 437. Glaise, P. P. L., 882, 487. Gleyre, 0. G., 287-8, 881. 888, 476. Gobelins. 48. 51, 58, 57» 58. €k)eneutte, 468. Goethe, 190. Goncourt, 102. Gosey, Elisabeth de, 69. Gospels of Charlemagne and his wife, 2. Gosselin, 460. Goubaut, 67. Gouss^, Geneyidye, 58.

• ' Thomas. 58.

GoTemment influenoe during dassioism,

180-8. Government Officials in Fine Arts to be

Members of Academy. 82. Grand Maison, M. de, 6. (Brandon. 117. Granet. F. M., 156, 159. Grouse. 77, 78, 109, 114-18» 119, 120,

159, 271, 479. Greuze, Madame, 116. Grey, Lady Jane. 5. Grofi, Baron, 148, 148, 156-60, 161, 165.

166, 188, 191, 199, 200, 214, 218. 220,

857, 894, 441. Guay. Jacques, 108. Gndin. F. J. A., 455. Guereino. 71. Gu^rin, P. N., 156. 161, 166, 182, 188,

191. 199. 214, 287, 478. Guemier, Susanne, 59. Guibert. H., 102. Guido, 50. 71. Guillaumet. G.. 828, 476. Guillaumin, 468. Guillemet, J. B. A., 458, 476, 477.

Guillet de Saint Geoi^ges, 88. Guillon-Lethi^ 478. Guimard, Madame, 141. Gntenbeig Statue, 416.

H. Haag, 894. Hamerton, P. G., 48, 167, 257, 259,27^

280, 284, 811. 847. 881, 481, 457. Hamon, J. L., 829-888, 884. Hampton Court. 12. Hanoteaux, H.. 450, 452, 476, 477. Harford, F., Bey., 426. Harpignies, H., 260, 268, 850, 408,

450-1, 452, 460. 476. Harrenger, The Abbe, 94. Hanmont, M., 450. Hayermann, CalJierine, 25. HasUtt,40 Hubert, A., 859, 866, 896-8, 418, 416;

478, 476, 477, 478. Heilbuth, F., 848, 850, 851-^. Heim, 264. Heine, 201.

Hemicyde of Fhie Arts, 216, 878. Henley, W. E., 891. Hennequin, 168, 184. Henner, J. J., 159, 876, 408, 406, 407,

408, 409-10, 476, 477, 479. Henry 11., 11, 15.

• • ni., 18, 15.

«  IV., 15, 16, 80, 81, 82, 60. Hersent, 191, 264, 891. Historical Pamters, The later, 4881 Hobbima, 249. Holbein, 11. 856. Homer, 191. 469. " Hois Conoours," 2(^ 260. Hdtel Drouot, 245, 272. HOtel de Ville, Paris, 271. Houssaye. A., 94. H., 468. Hu6, 127, 168.

Huet, Paul, 186, 226, 288-8, 248, 26a Hugo, v., 190, 207, 417. Huguet, 468.

Humbert. F., 401, 487, 476, 477. Hunt, Wm. H., 292. Husson's statue to Lesueur, 56. Hyre, Laurent de la, 20, 84.

Ictinus, 217. Illuminators, 2. Imperial War. The, 177. Impressiomsts, The, 459-73 ; list, 468. Ingres, J. D. A., 156, 161, 166-71, 174.

178, 179, 180, 191. 192, 194. 195, 200.

201. 206, 207. 209, 237, 228, 252. 267,

268, 279, 289, 857, 891, 899, 408, 42fl^

484,478.

INDEX.

489

lonooent X., (S3.

Inetitate, National , of Franoe ; oiganised in 1796, 85  ; under the Diieotory, 86; first membeiBhip, 86; under Napoleon L» 180, 182, 184; costume of members, 1&; under restored Bourbons, 188, 184; under Louis Philippe. 191.

Insurreotionof Artists of, 47-8, 194, 196.

Invalidee, Les, 102.

Isabey, J. B., 204, 260, 860, 466. «* B. L., 466.

Isenbart, 462.

Italian Artists at French Court, 10.

J.

Jabach, 60.

Jacques, 0., 247, 208-800.

Jacqnet, 442.

Jidabert, 217, 866, 894, 89flh4 408, 476.

James II. of England, 67.

Jannin, General, 148.

Janasen, 480.

Jeanron, 269, 270.

Jeurat, £., 114.

Jobbd-Duval, 829, 888.

Josephine, Empress, 46.

Jouvenet, Jean, 67-8. No«l, 86, 89.

Julienne, Jean B. de, 80, 94, 96.

Julius n., portrait of, 75.

Junot, Oeneral, 168.

Ju^ of the Salons under Louis XV. Skablished 1748, 80, 82  ; under Louis XVI., 82 ; under GouTention and Di- rectory, 88, 84, 85  ; Napoleon I., 182 ; Louis XYIII. and Oharles X., 184 ; Louis Philippe, 194, 281 ; Napoleon IIL, 264, 268  ; TMid Republic, 275.

<•

KzstK boys," 416, 418.

Laberge, 0. de, 284. La Blancherie, Palien de, 89. Laborde, 2, 8, 10, 11,48. Lacroix. Paul, 419, 421. Lsgrenee, J. G., 102. J. J., 102. Lafoyette, Marquis de, 218. " Madame de, 68. Lafenestre, G., 882, 481, 460. Lalanne, 476, 477. Lallemont, G., 86. Lambert, Madame de, 68.

L. . 860. Lambinet, A., 250, 894. Lamartine, 195.

La Montaene, 91, 94.

Lammer^le, 84.

Lamothe, 822.

Lancret, N., 96.

Landscape in XVmth Century, 121; under Classioism, 186; Bomantioism, 229 ; in Third Period, 449.

Landscape and Animals of XlXth Cent- ury: ox Bomantio Period, 267, 261 ; of Third Period, 294.

Landseer, E., 267, 294.

Lang^4i68.

Langlois. J. M. B., 166. 171.

Lansyer, E., 268, 476, 477.

La Patrie, 429.

Li^llidre, Nicholas de, 60, 66, 67-8, 89,

Larousse, 486.

Laug^, F. D., 441, 476.

Laurens, J. P., 408, 485-6, 476, 476, 477.

LavieUe, 462, 476, 477.

Lawrence, 280.

Law's Scheme, 70, 78.

Le Blant, 860.

Lebmn, Charles, 19, 20, 21, 28, 47-69,

55, 66, 67, 68. 67, 97. Lebrun, J. B. P., 120. Lecompte-du-NouY, 819. Lecoq de Boisbaudran, 888. Ledru-Bollin. 195, 266, 288. Lefebvre, J., 402, 406, 407-9, 475, 476^

477, 478, 479. Lefebyre, Philippe, 80. Legion of Honor established, 181, 488. Le Fort, 108. Legras, Auguste, 218. Legroe, Alphonse, 888-889. Lehmann, ¥L E. B. H., 289^90. Leigh Court, 42. Lelidvre, 450. Leloir, L., 848, 858-54.

•< M., 854. Lely, Sir Peter, 86. Lemaire, Madsme M., 406. Le Mercier, 88.

Le Moine, F., 96. 98. 100, 109. Le Nain, the Brothers, 95. LenepTeu. J. E., 427, 478. Lenoir, Alexandre, 88, 129. Leonardo da Vinc^ 8, 10, 75. Lepici6. N. a, 114. Lepine, 468.

Le Poittevin, E. M., 891-92. Leprince, J. B., 114. Lerolle, H., 890, 477. Leroux, H., 895, 485, 442, 476. Lessing, 142, 145. Lethi^re, G. G., 171, 184, 191. L^trome, 246. Lesueur, E., 17, 20, 21, 47, 48, 49, 50, fSU

52-57, 288, 866, 480.

Leaoenr, Pieire, PUU|!tw and Awtniiwt,

W. ^ Wtt, ft., 476. Utt. H. H., 888, 470, 477. Lbenwtto, L. A., 8S&-M, 47». Ijber Tentatia or InTantiiiiD, 4fi. Lobriohon, T., 384-89, S»S, 479. "Logo," 133, 276. LoDglU, 103. hoTTvn, CUnde, 40, 42-«, 7< 76, ISl,

180. 3Sa. Lorraine, Hetur, Dnke of, 44. LoeUlot, Alfred de, 889. Loofay" " " i, 9,847.

LoniB 3 In, 89, 87, 49.

homaJ 17,48,40.00,07,01,84,

«0. Of 73. 7S, 90, 01, W.

Lcmift 3 8, 82, 97, 101. 108, 107,

118. LoniB IVI., SO, 74, 77, 78, 89, 107, 117,

118. 119, 120, 28B. Lonifl Philippe, 100, 179, 181, 188, 190,

198, 904,318, 388, 400, 436.

Loavisn;, ( LoaTota, 01,

LoaToTa, 01, 64.

L<llIlinai^ K. V., 488, 476, 477, 41B.

Ljoni, Aoademj of Fwntiii^, 71.

HabOM. 11.

Hadruo,41ii.

MaigBUL. A., 489^470.

Maintenon. Hadame de, 48, OB, 78.

Muson. MUe., S8S.

MattriM, 08.

Uattriae of St Luke, 19, 20, 31, 94, SI,

78. Malmaison, 40.

Manet^:. . 368, SOO, 46S-6, S71. Maosard, 38, SO, 44, 60. Mantz, Paul, 481, 440. Marat, 144, 886. Marc. Antonio, 80. Marie Adelaide of SaTOT, 67. Maria Theresa, 01, 68. MariKDj, Hiuistei-, 27, 89, 108,110, 114,

Mariliuit. P., 338, 929. 381, 348, 808. Harine Painting earlr in Centorr, 178. of "Hiiid Period, 450. Uarino, S3.

Moriolin, Madame, 211, 21S. MariT, 48.

Marolle, A. J., 395, 441, 477. Maitiii, Abba, S. Martinet^ 888.

Cm

Mattel, Cardinal 8(

lUxiiniUan,B.

Marer. Conttanoe UUe., 118, 104.

" MaT Plotnre," 80, 49. SO. 00, 07, 00;

Manuin, 18, 93, 47, 48, 61, 63, 68. Meade, Dr., 94. "«da]g; InstitiitB . __. Napoleon IIL, 3tUS ; pablio, 976. Medici, Cardinal de'. 68. '■ Catharine de*, 10, 16. " Maria de*. 16, 81, S6, 46, 74, 8 ■ Tilla de", 138.

880-50  ; allied to GMme, flnt artiat in miniatore gtan, 88S  : ainiwQoe in flnaiwHal flflttam, qn^tan, diputr of eoHKlMce, 886 ; bioad tnatmeot nnder lens, 887 ; student of Dotdi maaten in Louvre, iUostnted honks, 889; flist eshibili<m. 1684; retootedin 1880; married, S40  ; met Taned criO- oism. Nwmleraik ojola^ 841 j haaaa,

Meinonier, J. C, 840. M«Un,468. Memling, 0. Hemnif. 0. Menuteot, 110. Hinard. Rta6. 940. Mendelseohn, 114, ITOi MengB, Raphael, ISO. "Mano(lfeO,"879. MereTille. Laborde de. 78.

Merb, HuffTue. 898. '■ G. H., 808.

" fib, 488,478.

Metm. 888, S89.

Hennier, Ghm., 148.

M»niet, 84, 160.

Michael Angelo, 87, 70, 163, 188, 900,

Hicballoa, A. B., 180, IBS, 388.

Michel, Andri, 348, 874.

Miohel, K, 450.

Uiohel, OeoKW, 9B6.

Hiohelet. 18£

Mignan. 250.

Mignaid, N..60,61.

Pierre. 11, 31, 61, 60, 61-6. " Pierre the joangw, 61. Paul, 01.

Uillet, Vnaixaa, 875-8.

MiUet, Jean Franooitt (FiaDciaqne), 40.

Millet. Jean Francois, 168, 104, 106, 307, 317, 335, 381, 345, 347, 201. 200, 879, 288, 200, 804-875; pEc^dity, ethic«l InoidentAlly, 864; ori^inatee a Btrle. religioua qiirit c^ hia family, H5;

INDEX.

491

<i

t<

c<

peasant life his inflpiration, studies, 866; appreciation of old masters, transition, second marriage, 807; ill- ness, suffering, etching. 868; aid through Diaz, new style, friendship with Rousseau at Barbison, 860 ; '* Cry of the Earth," qualities of new style misunderstood, contracts witii dealers, 870; earnest character of subjects, 871; Angelufl, 873; success in 1867,

gension to widow, 874 ; works, 874-5, 77, 882, 888, 884, 887, 461, 466, 467, 477,480.

Millet, Joseph Francois, 121.

Military Painting, 441.

Miniature Paintmg, 18.

MoLi^re, 68.

Monet, C, 462, 468, 466.

Moniteor Offidel, Le, 268.

Montespan, Madama de, 66, 180.

Montesquieu, 70.

Montioelll, A., 890-2.

Montpensier, Mile, de, 197.

More, Peter, 60.

Moreau, Bishop of Maoon, 152. " Adolphe, 198. Adrien, 847. Fanny, 175. Gustaye, 488-5, 478.

Merel-Darlieu, 84.

Morizot, 468.

Morot, Aim6 K., 440, 475, 476, 477.

Motteville, Madame de, 68.

Mural Decorations in Public Buildings : £coledes Beaux- Arts, 216; Fontaine- bleau, 80 ; Hall of Goun of Appeals, Paris, by Baudry, 480  ; Hall of Mar- riagesof 2d Arrondissement, Paris, by Be6nard,462; Hdtel des Inyalides, by Van Loo and Doyen, lOl, 1U2 ; Hdtel de ViUe, Paris, by Lehmann. 28i9; panels by Cabanel, 400  ; by Delacroix, 206  : ^ fifteen landscape painters, 406  ; Hdtel de YUle, Poitiers, by Puyis de Chayannes, 482  ; Louyre Ceilinffs, by Dey^ia, 208 ; by Oogniet, 220, d& ; by Couture, 292  : by Delacroix, 2<»6  ; by Lebrun, 50; Luxembourg, by Roque- plan, 250; by Delacroix, 204; by Cabanel, 400  ; by Carolus-Duran. 856; Marly, by Lebrun, 48  ; Kouyel Op(^, Lenepyeu, 427 ; bv Baudry, 227-8-9; Palais Bourbon, by Delacroix, 204  ; Palais Royal, by Delacroix, 202 ; by Coypel, 75 ; Parlement Chamber at Eennes, by Jouyenet, 57 ; Payilion of Flora in Louyre, by Cabanel, 400  ; Panth6on, by Gros, 164  ; by Cabanel, 400  ; by Puyis de Chayannes, 482; Tri- bunal of Commerce, Paris, by Bobert- Fleury, 221 ; Toileries, by Vooet, 84 ;

by Chaplin, 406 ; VeTsailles, by Le- brun. 48, 50. 57. MuseumB. — Ajaodo, 158; Alen^on, 888; Amiens, 128, 250, 8in, 408: Am- sterdam, 87; Angers, 189, 241, 800; Antwerp, 12; Aatun, 128; Basle, 287; Berlin, 50, 102, 106; Besan9on. 250; Bordeaux. 56, 106, 120, 127, 288. 251, 258, 887. 488; Boston, 876, 469; Bourg, 241; British, 48; Brussels, 1 '8; Caen, 283; Cambrai, 250; Chftlons- 8ur-Sa6ne,800; Dijon, 102, 128, 100, 189, 888, 410, 447; Dresden, 87, 95, 157; Epinai, 251; French Monu- ments, 88; Gteneya, 128; Grenoble, 66,128, 897; ESnigsbeig, 96, 215; Layal. 806, 852; Le Mans, 128; Liege, 169; Leipsic, 218, 261, 428; LiUe, 106, 127, 141, 142, 147, 178, 196, 206, 261, 286, 854, 882, 886, 887, 412; Lisieux, 286 ; Lyons, 56, 57. 159, 189, 286, 482; Macon, 241; Marseilles, 56, 102, 128. 158, 189, 888; Mayence. 128; Melun, 408 ; Mende, 241 ; Metro- poUtan, New Tork, 226, 292, 802, 819. 844, 889. 890, 411, 446; Mon- tauban, 66. 286; MontpeUier, 186, 202, 288, 250, 258, 259 ; Nancy, 102,

106, 127, 205, 806. 488  ; Nantes, 56,

107, 189, 251, 258, 286, 888. 480; Nismes, 106. 215; Orleans. 102, 288, 487; Plombitos. 261; del Prado, of Madrid, 45; Bennes, 128, 888; Bheims, 241 ; Bouen, 66, 127, 647, Stettin. 806  ; Stockholm, 106 ; Stras- bourg, 127 ; Toulon. 106  ; Toulouse, 1:^7, 158, 171, 205, 818; Tours, 128, 205, 251; Versailles, Historical Museum of, 51, 187, 102, 106, 118. 120.

Museums under Napoleon I., 126, 127, 128  : under Louis Philippe, 187 ; Pro- yincial 87, 127. 128.

Mus^ Napol^n, 186 ; restored to owners, 187.

Mupillo, 77, 270, 271.

Musset, Alfred de, 207, 219.

N.

Nargeon, 84.

Napoleon I., 72, 76, 78 ; acquisitions for Louyre, 88, 118, 125, 126. 142, 146, 165, 166, 169, 181, 190, 269, 486.

Napoleon IIL, 181, 240, 260, 268,269, 270, 286, 286, 899, 456.

Napoleon, Prince, 288.

Narbonoe, Chanoines of, 76.

Natoire. 119.

Naturalistic Schools of Bomantio Period^

492

INDEX.

NeoHmos, rise, aims, ohttnoterirtios of,

Neuf ohiteaiii Fran9oiB de, 85. NioholM v., Pope, 84. Nieuwerkerke, Coiate de, Infliwnoft on art, 264-83, 988 ; additions to Loavre,

Neuwiller, CliiiToh of, in Alaaoe, 8. Key, Marshal 808, 841. Noyers, 88, 88. Nosal, 458.

0.

Oppression of Aoademj, 86.

Orient, The, in French painting, 288.

Orientalists in Bomantio PerloC 838.

««  Third Period, 806. Orleans, Charles of, 9. Orleans Gallery in JLVluth Centory, 75. Orleans, Philippe IL, Dnke of, 7&-6. Orleans, Lonis, Duke of^ 75, 76.

Louis Philippe, Duke of, 76,

Philippe Joseph, Duke o( 76.

Louis Philippe, Duke of, 178.

Louise of, w). Ossian, 191. Oudinet, 458. Oudiy, 106.

P.

Painters afleoted by Italian inflosnoes,

18. Paintings on fumitore, 1, 8.

• ' *< garments, 1.

•* glass, 1,8. " ** panels, 1, 8.

" tapestries, 1.

" walls, 1. Palais de Tlndustrie, erected, 968. Palais Royal, gallery, 17, 116. Panthfon, 164, 288. Papal Kunoio, M. Deflnl, 17. Paris (architect), 418. Paris an art centre, 878. Pater, J. B., 96. PattiBon, Mrs. Mark, 18. Pau de Saint Martin, A., 848. Payson, Pierre, 18. Pecoul, Mile., 148. Pelouse, L. G., 461, 476, 477. Pensions by Louis XIV., 88. P^real, Jean, 5-6. Perides, 816.

Perigord, Madam& 177.

Periods, Three, of Art of XlXth Cen- tury, 129. Perraiiit, 47. Perrier, F^ 84. Peter the Great, 58. Petition of Artists, 194^ 195.

<« 

Petits Augustins, Les, ConTent ol^ 8&

186, 878. Petrarch, 9. Phidias, 8, 7. Philip of Buzgundy, 8. Philip IV. of Spain, 44. Philipon, 418.

Philipoteaux, H. £. F., 448. Philippe Augusts, 9. Picot, F. &, 155, 964, 810, 877, 408^

410, 488, 447, 479. Pkxm, 287, 881, 888. Pignaniol de la Force. 20. PiDage of Abbeys and Palaces, 88. Pille, C. H., m, 476, 477. Pils, L A. A.. 268, 281, 479, 476. Piombino, Princess of, 82.

" Sebastiano del, 75. Pius VIL, Portrait by David, 146. Place Dauphine. 110, 118. Planche, 295, 244. Plassan, A. E., 845. Plutarch, 89, 488. "Poiaevin,"45a Pointelin, 450, 469. Poissonler, Dr., 105. Pommereul, Genersl, 198. Pompadour, Madame de, 79, 101, 1011,

104. 105, 110. 114, 118, 188. Pompeii, influence of exoaTations, 140^

Pont Neuf , 108.

Portaels, 887.

Port Boyalists, 47.

Potier, Jules, 889.

Potter, Paul, 75. 960.

Poussin. N.. 11, 28, 80, 85^49 ; woite,

40, 48, 46, 49, 50, 74, 75, 78, 158, 186»

860. Poussin, Gabriel, 51.

• ' Gaspar, 48.

PoKzo, Cavaliere di, 87, 88. Praslin, 48.

Present condition of French art, 478-8L Prieur, 187. Prilly, Madame, bums king's portrait,

61. Primaticcio, 14. 99, 481. Princess Marie's regard for Ary SohefllBr,

218. Prix de Borne-established in ZYHth

century, 29-80 ; under Louis XV. and

XVI., ^ 96; continued by ConTen-

tion ; under Napoleon I., 128, 185|

189 ; under Restoration, 185: changes

of 1868, under Napoleon III., 967;

established for classical landscape^

186; aboUshed, 267. of Due d'Antin, 98.

• • of the Bmperor, 260.

<< of M. Toumehem, 80.

INDEX.

498

P]!t>oe08iQii of Napoleon's trophies of art,

89. ProfesBOrs of Aoademj, 21, dd. Piotais, P. A., 441, 443, 444. 447. Protector, Vioe-Proteotor of Aoademr,

81. Protectors of XVIIth Centnry, 88. Proust, A., 460.

Pro?indAl Moseums, 87, 187, 188. Pmdhon, P. P., 118, lSO-0, 166, 800,

801, 479. Pmdhon. P. J., 878. Psalter for mother of St. Louis, 8. PdjoI, Abel de, 166, 169-60, 177, 196,

Wa 860 864. Payis' de Ghavannes, 896, 408, 480-8,

468, 476, 476, 477, 478, 479.

Qoai, Maurice, 140. 145, 166. Queen Marie Am^lie, 218. Quentin de la Tour, 118.

R.

Bdcamier, Madame, 147, 167.

Baitaem, 460, 468.

Banc, 68.

Baphael, 64, 74, 76, 89, 186, 148, 161, 167. 170, 192, 886, 861, 868, 891. 428.

Rapin, A., 464, 476, 477.

Raymond, legend of, 64-6.

Rectors of Academy of Paintine, 81.

Redouts. 84.

Regent, the, 74.

Regnault, J. B., 119, 149, 160.

<< Henri, 808, 881-^  ; precocity, 881; "enyois^' of 1871 diajped wi& ciape, 888 ; his Salom^ alone illustrated the a^, 888-4  ; yaried powers, 884 ; betrothal, enlistment, death, 886.

Rembrandt, 74, 76, 77, 89, 170, 881, 864, 860, 871, 860, 898.

R^mond, 187, 804.

Ren£ of Anjou, 1, 8, 4^ 9.

Renoir. 468.

Renouf , B.. 466, 476.

Republic of America, 78.

Republic, Third, 871.

Reodenoes : Cassin's, Biadame de, by Lefebyie, 408 ; Golonna Palace, ELome, by Gaspar Poussin, 48 ; Gorsini Palace, Rome, by Gaspar Poussin, 48  ; Famese Palace, Rome, by Mignard, 68, 66; Guimard's, Madame, Temple of Terpsichore, by Fraffonaid and Dayid, 140 ; Hdtel Bullion, by Vouet and Blanohard,

84 ; H6tel Pereire now BartAemy, by Bou^ereau, 406; H6tel Lambert de Thongny, by Lebrun and Lesueur, 66; Napoleon, Prince, Pompeiian House ot by G. Boulanger, 880 ; Hotel Bretonyiliers, by Lesueur, 69  ; Hdtel de Longueyille, 65  ; Pompadour's, Madame de, Chateau Belleyue, 108; Sceaux, by Lebrun, 48; Vanderbilt, Mr. Cornelius, by Baudry, 429  ; Van* derbilt, Mrs. W. H., by jBaudry, 489; Villa Borffhese, Rome, by Gaspar Poussin, &\ Vanx Vicomte, by Le- brun, 48.

Reynolds, Sir Joshua, 40, 77, 106, 898.

Ribera, in La Case Collection. 271.

Ribot, A F., 862, 467, 476, 477.

RicheUeu, 16, 21, 82, 84, 40, 47, 48 ; gallery, 18-19.

Riches of French Art passing to Ger- many. England and Russia, 88.

Rienx, 68.

Rigaud, Hyacinthe, 60, 66, 68, 70, 76, 89, 271.

Riyalz, Antoine. 97.

Robert, L. L., 168. 218-20, 286. " AurMe, 220^1.

Robert-Fleury, J. N., 200, 220-1, 264, 847, 478.

Robert-Fleury, Tony, 847, 408, 475, 476.

Robespierre. 88, 142, 148, 175.

Rochegroflse, 488.

Rohan. Duke of, 181.

RoU, A. T., 869, 468, 464, 472-8, 476, 477, 479.

Romano, Giulio, 75.

Romanticism,period of , 190-261 ; causes, 191 ; aim, 198 ; artists of, 197 ; Orien- talists of, 222  ; landscape painters of, 229 ; painters of landscape and ani- mals of, 257.

Ronot, C, 882.

RMuephui, 166, 186, 860, 869, 860, 806,

Rosso, n, 10, 481.

Rossini, 416.

Rouart, 468.

Roux,866.

Rousseau, J. J., 888.

ThMlore, 194, 196, 880, 281, 888. 886, 841-48  ; poetical realist, edu- cation, 848 ; paints yiew of Auyeigne instead of subject assigned, 248  ; offl- dal hostility, goes to Barbison, 248; '< father " and proto-martyr of modem landscape, 844-46; reaction in his fa- yor, 844 ; defines finish, yeraatility, 846  ; insanity of wife, 847  ; intensely French, 848 ; price of works finally, 848.

Rousseau, Philippe, 468, 476.

494

INDEX.

Bnbens, 18, 88, 74, 89, 99, 98, 198, 188,

900, 208, 918, 971. BoBkiii, 48, 89a BajBdMl, 949.

8.

8ftoohL Andrea, 89.

Saoi, De, 47.

SaiDteBeuTo, 804.

Saint-FargeuL M. LepeUetifir de^ 144.

SaintrPiem, G. C, 889, 478.

Saintm, J. EL. 809.

SaLes— Arbutbnot, 1889, 849 ; Blondel, 1778, 90: C haries Lof Bngland, 1760-8, 818 ; Defoer, Paris, 1888, 848 ; Oasll, 91 ; Hartman. Paris, 1881, 875 ; Ja- bach, 18  ; Jofanston, New Torii, 1878. 907, 998, 287, 815, 886. 858 ; Ehalil Ber, Paris, 1888, 848 ; Latham, Nev York, 1878, 884, 888 ; Lathrop (error tiim for Latham), 834  ; Lanrent-Bi- chard, Paris. 1878, 948, 848, 452 ; Le Bas, 1788, 114; Lehon, 1881, 848; Lepel.Cointet, 1881, 877; Mason, 1888, 227  ; Morgan. Mr. E. D., New York, 1886, 885; Morgan, Mrs. M. J., New York, 1888, 948, al9, 885, 844, 849, 875, 888; Mott, Mr. J. L., New York, 1888. 818; NilsBon {erratum for Wilson), 1878, 249; Paris, Paterean, 1857, 95; Probasoo, New York, 1887, 942, 248, 475; Robert, Hnbert. 1809, 95 ; Seney, Mr. Q. I.. New York, 18^. 809, 344, 475  : Spenoer, Mr. Albert, New York, 1888, 805, 810, 844 ; Stewart, Mrs. A. T., New York, 1887, 819, 890, 844^ 405; Teno6, 1881, 848 ; Wazd-Brown, New York, 1886, 907, 288 ; Wertheimber; 844 ; Wilson, J. W., Paris, 1881, 848. 878 ; Wilson (mratwn for Nilsson), 1873, 249.

Salons. — So named, 79 ; nnder Louis XV., 77 ; nnder Lonis XVL, 77-81 ; adTsntages of regularity of, 98 ; con- trol by Directors of Buildings in XVIIltb century, 79 ; under CouTen- tion, Directory, 88, 84, 85, 86, 87 : that of 1793, 88  ; under Napoleon I., 182  ; under Restoration, 184 ; that of 1819 historic. 194  ; under Louis Philippe, 191, 194 ; that of 1881 historic, 194  ; that of 1848, 198, 982; under Napoleon III., 969-8, 288  ; under Third Repub- lic, 974-6  ; of the Rejected, 288; entire number and catalogues of, 27.

Salon de la Correspondance, 82. 118.

Sampson, Colonel D., and Dor^ 417.

Sancy, Baron de, 81.

Sand, George, 199, 948, 808.

Sandtart,4i4

Sarraein, 90, 98.

Sarto, Andrea Del, 10, 74, 78.

Sartoris, 497-a

Savoy, Duke of, 80.

Soeaux, 48.

Scheffer. Ary, 199, 909, 9Q9-18» Ml^

990. Scheffer, Henri, 213.

Arnold, 918. Schenck, A. F. A., 809^ 89^ 481. Schiller, 190. Schneti, J. V., 158, 180-1, 191, 989, 480^

478. School at Paris, eariy, 7.

•* *• Tours, " 7. Secretarr of AoadeBT, ^» 98. S^ A., 451. Seignac, 894. Serret, 488. Seurat, 488.

Sfona, Galeae Marias^ 9. Sigalon. X., 199, 914, Signac, 463. SilTestre, 881. Simiane. Madame de, 99. Simoneau, 55. Sirois, 94. Sisley, 488. Snjpers. 101. Soci6t4 republicaine et populaize dm

aits, 84. Society of French Artists, 474, Socrates, 144. Somers, Christine, Madame Van Lo&

100. Sorbonne, 198, 158. Sorei, Agnes, 8. Souchon, 854.

Stafil, Madame de. 167, 198. Steinheil, A. C. £.. 345, 878. Louis, 955. 840. " L. C. A., 845. Stella, Jacques, 49. Still.life, Painters of, 407. St Bruno. 58, 54. Stuart, Marie, 11. Subleyras. M., 97. P., 97. Suxer, Abbott, 9. Suisse, his studio, 888, 881. Sully, 16.

Summary of Artof XVth Centoir, 7. «• " XVIth Century, 16.

" XVIIth Century, 71-9L " XVIIIth Centnxy.198-5. Superior CouncU of Fine Arts, 887,

• 79.

Su?<6e, wins faTors for Prix de Bome,

128. System of Honors under Napdeon IIL,

If

INDEX.

485

T.

" Tache," 303, 469, 460.

Taine, H. A., 282, 418.

TalieyrandL 242.

Tftlma, inflnenoed by DaTid, 14S.

Tassi A.. 44.

Tauiuiy, N. A., 160, 168,186.

Teniers, 76, 111, 271, 478.

Terbnrg, 888, 889.

Thaokeray, 282.

Th^yenin, 166, 191.

Th^venin, Catherine (Madame Oogniet),

220. Thibault, 84.

Thiers, 200, 204, 218, 214, 840. Thirty, The, priyileged of the Aoademy,

22. Thomasein (engrayer), 96. Thord, 196. Thorwaldsen, 179. Titian, 66, 74, 76, 208, 271. Toniemooche, A., 288, 889, 869, 862. Tonmehem, Minister, 84. Treasurer of Academy, 22. Trianon, The, 87, 87. Triennial Salon of 1888, 249. Troyon, 0., 267, 268-61, 294, 807, 822. Tador, Maiy, 6. Turner, 887.

U.

Uooello, Paolo, 466.

Uniyersi^ of Paris, its eariy inflnmifle, 9.

Urban VIIL, Pope» 88, 44, 62.

V.

Yal de Oraoe, 68, 66.

ValenciemiM, 186, 288.

Valentin, Le, 86, 42, 142.

Valois, Mar^oet of, 11, 88.

Van Dyke, 74, 76, 89.

Van Bycks, 11.

Van Loo, Carl, 78, 80, 99-108, 108, 113,

114, 146. Van Loo, Caroline, beanty at^ 100. " family of eight painters, 99. - L. C. D., m "Vanlooter,'M02. Van Maroke, Emile, 801-2, 876, 877.

Bllle. Marie, 802. Varin, Qaentin, 84, 86. Vasari, 76.

Vanz, le Vioomte, 48. Vanx Villars, 48. Vayson, P., 862, 476. ViDars, Doke of, 82. Velasquez, 62, 271, 822. 866, 466. Verbruok, 108. Vemet, Claude Joseph, 108, 109-11, 120,

186.

Vemet, Carl, 82, 84, 168, 166, 178, 182,

191 441. Vemet, Hocaoe, 82, 169, 178. 176-82, 189,

214, 228, 264, 279, 847. 408, 441, 448,

478 479. Vemet, MUe. Louise, 216. 219. Veronese. 81,. 60, 74, 208. 204. Versailles Museum established, 87. Versale, Andrea, 87. Veyrasset, J. J., 800-1, 894. Vezzo, Virginia di. 82. Viardot, 88, 66. Vibert, J. G., 848-60, 442. Vidall. Engdne. 468. Vien, 11, 84. 86, 108, 106, 118-20, 141,

168. Vig^Lebrun, Madame Elizabeth, 120-

1. 161. Vurnon, 468.

Villard, M. and Doi^ 426. Villot, 18, 27, 82.

Vincent, F. A., 84, 119, 148. 168, 176. Virgil, 200, 431. Vitet. 207. Vitruyius. 89. Vitry, MarSchal de. 62. Vollon, Antoine. 467-8, 476, 477, 479.

Alexis. 468. Voltaire, 54, 66, 288. Volterra, 76. Vonet, Aubin and Claude, 84.

• ' Jacques. 84.

" Laurent, 81.

<' Simon, 17, 19, 80, 81-4, 86, 88,

46, 47, 61, 62, 68, 64, 61, 62, 68.

W.

Waagen, 96.

Wales, Prince of, 860, 486.

Wallis. H., 874.

Walpole, 90.

Wals, Gkxlfrey, 44.

Watelin, 462.

Watteau, A., 76, 77, 90-6, 98, 101, 105,

111, 118, 186, 271. Watteau, F. G. J., 96.

•* G.J..96.

«  School of, 96. WeUington, Duke of, 186, 187, 167. Wioar, 864. Wille, 69.

Winkelmann, 182, 142. Wlenghels, 94. WoliC Albert, 240, 246. Women in Academy of Painting, 86. Wordsworth. 286. Worms, Jules, 849, 862. Worth, 282. Wouyerman, 76.

496

INDJSZ.

Y.

Tan, £. B.. 4S0» 461.

Yiron, A., 441, 442-8, 447, 470.

7ftiT^fiifff>|if^ 310,

Zandomeneglai, 488. Zfiigler, J., 218. Zeiu]8» 54. Ziem, 228, 808» 476L Zola, 466. Zuber, 460. Ziufoiuan, 64.